集体化时期体制外艺人的生存之道——以评弹界为中心

The Survival of Artists Outside the System in Collectivization Period——Pingtan-centered

为宣传革命文化与建设社会主义大众文化,中国在20世纪50—60年代建立了一批文艺团体。但体制之外,市场中仍活跃着一批民间艺人,评弹“飞兄”即是其中一种。集体化时期,评弹“飞兄”有其存在的社会环境与相对独立的生存空间,并形成了独特的生存形态。为了生存,“飞兄”还经常使用变通性生存策略。面对“飞兄”的活跃,政府部门采取了针对性的管控政策,并适当放宽政策,允许部分艺人登记,在疏导中加强其管理与改造。“飞兄”的活动,一方面展现了该时期体制外艺人在夹缝中生存的图景与逻辑,另一方面也透视出国家与社会之间的张力。

In order to propagate"revolutionary culture"and look for a socialist entertainment culture,Chinese Government established a number of literary and art groups in the 1950 s and 1960 s.But outside the system,there are still many folk artists active in the market,and"Fei Xiong"(飞兄)is just one of them.During the collectivization period,Pingtan"Fei Xiong"exists in their own social environment and has relatively independent living space so that there comes a unique living form.Besides,they often uses flexible strategies to survive.Confronted with their activities,government departments have taken corresponding management and control policies,meanwhile relaxed policies appropriately,such as allowing some artists to register.In these ways,government can strengthen the management and transformation on"Fei Xiong"in the process of guidance.The activity of Pingtan"Fei Xiong",for one thing,shows the picture and logic of the artists outside the system to survive in the cracks;but also,it reveals the tension between the state and society.