器物现代化与文化现代性:“十七年”社会主义乌托邦戏剧研究

社会主义乌托邦戏剧是“大跃进”所催生的特殊戏剧形态,主要存在于20世纪五六十年代,包含三种主要类型,它以表现社会主义建设、畅想国家现代化发展蓝图为主要内容,试图起到鼓舞人心的作用。社会主义乌托邦戏剧反映出新生民族国家对现代化发展的迫切愿望和建设热情,但剧本所建构的道德标准和价值体系,在很大程度上忽视了人的现代化、思想的现代化发展,人的主体性和复杂性很大程度上被抑制,人被抽象为一个具有无私奉献精神、从不考虑个人正当需要的空洞能指符号。

“大跃进”与社会主义乌托邦戏剧

社会主义乌托邦戏剧是"大跃进"所催生的特殊戏剧形态,它以大胆的想象和亢奋的乐观主义精神,在戏剧场域建构物质生产的狂欢盛会及国家未来发展的蓝图。在这场以高扬人的劳动力和科技创新能力为主的乌托邦式物质生产场景中,普通群众的主观能动性被极大限度地拔高,而知识分子的专业技能和社会地位则被贬低,二者身份和作用的变化,预示着政治素养成为衡量"人才"的标准。再有,女性也成为宣传价值观念和道德文化的载体,其社会定位和人生目标的变化,则显示出社会主义价值体系的某些内涵特质。

Utopian Theatre and Subjectivity Reconstruction Rethinking on the Artistic Spirit of Minjian Theatre

Minjian has become an important concept in recent scholarly research. It is widely used by scholars to indicate specific social and cultural spaces existing beyond the control of state power, therefore, minjian social-cultural spaces are more often than not marginal and peripheral. In the field of performing arts, minjian theatre refers to performances produced by private theatre companies as opposed to state-run groups. These private companies or grass-root groups, without the interference of the government, produce artistic expressions that reflect current social reality to a certain extent. For a long time, the study of minjian theatre has been framed as forms of resistance against the ideology propagated by state-run theatres. Based on this paradigm, this paper, through the case analysis of Shanghai minjian theatre companies, attempts to illuminate the production mechanism and developmental process of minjian theatres. In so dong, this paper will explore the aesthetic and social-political values of minjian theatres.