戏剧在苏北抗日根据地(1940—1945)的历史样态、艺术姿态、传播生态

Dramas in the Anti-Japanese Base of Northern Jiangsu(1940-1945)of Historical Pattern,Artistic Gesture and Communication Ecology

目前学界对苏北抗日根据地戏剧研究较少,而将封存于档案和回忆中的苏北抗日根据地戏剧整合重现,不仅能体现抗日根据地戏剧别样的区域标识,亦能补足抗日根据地整体戏剧史的未尽之憾。经历了两次“反扫荡”,戏剧艺术家们在《在延安文艺座谈会上的讲话》精神的指导下逐渐深入基层,融入群众,他们通过加入苏北传统戏曲、杂耍等表演形式以克服戏剧创作“公式化”的弊病。戏剧社群化和自治化的组织方式,促使苏北民众在接受革命启蒙与思想解放的同时,也逐渐从观众席走向了舞台中心,并释放了巨大的戏剧生产效能。

Currently,there are few studies on the dramas of the anti-Japanese base areas in northern Jiangsu in the academic circle.The integration and recreation of the dramas of the anti-Japanese base areas which are sealed in archives and memories,not only reflect the different regional marks of the dramas of the anti-Japanese base areas,but also make up for the unfinished land of the whole drama history of the anti-Japanese base areas.After two“anti-moppings”,under the guidance of the spirit of Speech,the drama artists gradually penetrated into the grassroots and integrated into the masses.They overcame the“formulaic”malpractice of drama creation by adding the traditional opera of northern Jiangsu,juggling and other forms of performance.The social and autonomous organizing mode of drama promoted the people in northern Jiangsu to gradually move from the audience to the center of the stage while receiving the revolutionary enlightenment and ideological liberation,and released the tremendous efficiency of drama production.