摘要
抗战时期,戏曲论者可分为新、旧两派。由于他们的立足点和追求目标大相径庭,对戏曲的了解程度也大不一样,故而形成了各自不同的戏曲观。这两种戏曲观在很大程度上决定了战时戏曲的发展格局。
During the anti-Japanese war period,drama theorists could be divided into two classes,neoculture workers and the drama workers.As their standpoint and ambitions were wildly divergent,and they also differed in the extent of understanding drama,as a result,the two classes developed distinct drama thoughts.Therefore,to a great extent,these two kinds of drama view determined the anti-Japanese drama development pattern.
出处
《戏曲艺术》
北大核心
2013年第2期80-83,14,共5页
Journal of National Academy of Chinese Theatre Arts
基金
国家社科基金艺术类重点课题<20世纪中国戏剧理论和批评史>阶段性成果
项目编号08AB02
关键词
抗战
戏曲观
革命古典主义
艺术价值
Anti-Japanese war Drama views Revolutionary classicism Artistic values