论文部分内容阅读
皖南事变后的1942年3月,原本脆弱的国共合作出现了危机,国共两党政治纷争变得日益尖锐,大有剑拔弩张之势。就在此时,歌颂国民党军队特工锄奸抗日的《野玫瑰》继昆明、贵阳演出之后,又在重庆隆重上演。演出火爆,上座率不错。作为“战国策派”的陈铨,在剧中强调的民族意识、国家民族高于一切的思想,客观上与国民党政府提倡的“民族文学”文艺政策不谋而合,被其视为至宝,予以嘉奖、宣传和推广。而部分左翼人士(非中共高层)也敏锐地觉察到执政党的政治用心而迅速作出反应:批评、
After the Southern Anhui Incident in March 1942, the crisis of the already fragile state-to-state cooperation emerged. The political disputes between the Kuomintang and the Communist Party became more and more sharp. There was a lot of rattling. At this moment, the “Wild Rose”, which celebrated the anti-Japanese move by Kuomintang army agents to honor the Japanese army, staged a grand performance in Chongqing after the performance of Kunming and Guiyang. Popular performance, attendance is good. Chen Quan, who acted as the “Warring States Strategy Party,” emphasized the national consciousness in the play and the idea that the nation is above all else coincides objectively with the “national literature” literary policy advocated by the Kuomintang government. As a treasure, be commended, publicity and promotion. Some left-wing (non-CCP leaders) are also acutely aware of the political intentions of the ruling party that promptly react: criticism,