本文關(guān)鍵詞： 山西 抗戰(zhàn) 大劇 大眾文藝觀　出處：《山西檔案》2015年02期 　論文類型：期刊論文

【摘要】：抗戰(zhàn)期間,山西根據(jù)地的演劇活動(dòng)主要面對(duì)廣大農(nóng)村群眾。斗爭(zhēng)形勢(shì)的具體需要和受眾的文藝欣賞水平共同決定了這一時(shí)期敵后劇運(yùn)必須走大眾化道路,如此才能便于受眾領(lǐng)悟,獲得良好的宣傳效果。1941年根據(jù)地出現(xiàn)了連續(xù)搬演大型中外名劇的風(fēng)潮和忽略現(xiàn)實(shí)需要的文藝傾向,戲劇界由此展開了一系列關(guān)于文藝觀的論爭(zhēng),并確立了"為大眾"的敵后劇運(yùn)文藝觀。這一強(qiáng)調(diào)現(xiàn)實(shí)主義創(chuàng)作原則的文藝觀不僅對(duì)根據(jù)地的敵后戲劇運(yùn)動(dòng)具有指導(dǎo)意義,而且對(duì)其它形式的文藝創(chuàng)作也產(chǎn)生了影響。
[Abstract]:During the War of Resistance against Japan, the acting activities in Shanxi base areas mainly faced the broad masses of rural people. The specific needs of the struggle situation and the level of appreciation of the audience in literature and art jointly decided that in this period the movement of behind enemy dramas had to be popularized. In 1941, in the base areas, there appeared the trend of continuously performing large-scale famous Chinese and foreign dramas and the tendency of literature and art to ignore the needs of reality, which led to a series of debates on the concept of literature and art in the theatrical circles. And established the "for the masses" behind the enemy drama movement literature and art view, this emphasis on the principle of realistic creation of literature and art not only for the base area behind the enemy drama movement has a guiding significance, but also for other forms of literary and artistic creation has had an impact.
【作者單位】： 山西師范大學(xué)文學(xué)院;山西師范大學(xué)戲曲文物研究所;
【基金】：山西省哲學(xué)社會(huì)科學(xué)“十二五”規(guī)劃2014年度課題“山西根據(jù)地抗戰(zhàn)劇作及其當(dāng)代價(jià)值研究”的研究成果,項(xiàng)目批準(zhǔn)號(hào):晉規(guī)辦字【2014】3號(hào) 山西師范大學(xué)現(xiàn)代文理學(xué)院教學(xué)改革與建設(shè)研究項(xiàng)目“影像資料在中國(guó)現(xiàn)當(dāng)代文學(xué)教學(xué)中的運(yùn)用研究”的研究成果,項(xiàng)目編號(hào):WL2014JGXM-06
【分類號(hào)】：J809.2

【相似文獻(xiàn)】

相關(guān)期刊論文 前1條

1 叔牟;藐視困難,重視困難[J];戲劇報(bào);1960年21期

相關(guān)碩士學(xué)位論文 前1條

1 彭媛媛;論毛澤東的戲曲文藝觀[D];上海交通大學(xué);2007年

，

本文編號(hào)：1516666