论新中国成立后的三次现代戏运动

Three Modern Drama Movements after the Founding of the PRC

1949年后,对于中共倡导的文艺要"为政治服务"的方针而言,现代戏因具有时效性强、普及面广和编演便易等特点而倍受重视。"十七年"间,我国先后三次掀起群众性的现代戏运动。随着阶级斗争理念的不断加剧,运动中的政治参与日益深化。以新中国成立初期地方上"写政策""唱中心"的"时装戏"热潮为肇始,开启了政治全面介入戏剧艺术的先河。1958年后,由国家层面主导自上而下发动起来的现代戏运动,已经发展为政治运动的组成部分之一。至20世纪60年代中期,则把是否编演现代戏径直上升到政治本身的高度。"政治挂帅"的结果,现代戏逐渐排斥了其他戏剧类别而独据舞台,最终异化为特殊时代的政治图解。

After 1949, with the policy of literature and art ＂serving the politics＂ advocated by the Chinese Communist Party, modem drama had acquired much attention for its strong timeliness, wide popularity, convenience in creation and performance. In the ＂seventeen years＂ since, China had launched three mass movements of modem drama. With the intensification of the concept of class struggle, political participation in the modem drama had deepened day by day. Starting from the upsurge of ＂fashion drama＂ with ＂writing policy＂ and ＂singing center＂ as the main content by local governments in the early days of the founding of new China, the political intervention in drama began. After 1958, the modem drama movement, which was dominated by the national level and started from the top down, had developed into an integral part of the political movement. By the middle of 1960s, modem dramas had gone straight to the height of politics itself. As a result of ＂political leadership＂, modem drama gradually excluded other drama categories, performed solely on the stage, and eventually became political diagrams of the special times.