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新中国成立以后,将民族团结提高到一个国家统一的高度,因此,作为意识形态重要的宣传的艺术门类,不仅在各个少数民族的自治区建立话剧团,而且倡导少数民族的话剧创作和演出,编导们是通过仪式来完成神话的传播;中国20世纪五六十年代的少数民族话剧,一类是少数民族的剧作家创作的以少数民族的生活为题材的剧作,一类不是少数民族剧作家创作的,但却是以少数民族生活为题材的剧作;中国20世纪五六十年代的少数民族话剧是通过歌唱等手段来进行抒情的。我们可以通过人类学民族志的研究方法来进行研究,即通过民族志寓言来阐释自我与他者的神话谱系;民族志结构:汉族与少数民族的双向交流;民族志抒情:对新中国的情感认同三个方面来阐释。
Since the founding of new China, national unity has been elevated to the height of a country’s reunification. Therefore, as an ideological important art genre, not only repertory troupes are established in the autonomous regions of all ethnic minorities but also the creation and performance of the dramas of ethnic minorities, They are through the ritual to complete the spread of myths; China’s fifties and sixties of the 20th century, the drama of ethnic minorities, one is the dramas created by ethnic dramatists and ethnic minorities as the theme of the drama, a class is not a minority dramatist But it is a drama based on the life of ethnic minorities. The drama of the minority nationalities in China in the 1950s and 1960s is lyrical by singing and other means. We can conduct research through anthropological ethnography research, that is, through the ethnographic allegory to explain the mythological pedigree of the ego and the other; ethnographic structure: the two-way exchange of Han and ethnic minorities; ethnography lyricism: the emotion of New China Identification of three aspects to explain.