本文選題：《白毛女》 + 接受研究�。� 參考：《陜西師范大學(xué)》2015年碩士論文

【摘要】：在20世紀40年代初,毛澤東發(fā)表了《在延安文藝座談會上的講話》,這不僅對延安文藝運動產(chǎn)生了重要的影響,而且為延安時期的文藝創(chuàng)作提供了指導(dǎo)方向。在整個延安文藝戲劇運動中,《白毛女》則代表了邊區(qū)戲劇創(chuàng)作的最高成就,也占據(jù)了當(dāng)時延安文藝戲劇作品傳播的中心,引起了巨大的社會效應(yīng)和政治效應(yīng)。1949年是中國社會的重要轉(zhuǎn)型期,建國前后文藝政策的變化對《白毛女》的接受和傳播情況也有相應(yīng)的影響。讀者、觀眾是接受者,同時也是文學(xué)傳播過程中的受眾,沒有受眾積極參與的文學(xué)創(chuàng)作文本,也是沒有價值和意義的。故本文選擇1949年前后為時間點,從文學(xué)接受和文學(xué)傳播的角度切入,從1949年前后《白毛女》的歷時性發(fā)展中(如歌劇、工農(nóng)兵電影、日本改編的芭蕾舞劇)來梳理不同空間(國內(nèi)、國外)的接受情況和傳播軌跡。論文的第一章主要論述《白毛女》在延安文藝戲劇運動背景下,政治話語如何發(fā)掘了“民間故事”的內(nèi)涵,從而進行《白毛女》最初的創(chuàng)作與排演：第二章以不同的接受主體為對象,如文藝界、批評家、普通讀者等,來重點討論1949年前后新歌劇《白毛女》的接受情況以及在國內(nèi)上演的傳播效果；第三章整理建國初電影《白毛女》在國內(nèi)外的上演反響,以及日方根據(jù)電影《白毛女》改編的芭蕾舞劇在日本、中國的受眾評價,同時,選取了新歌劇《白毛女》在東歐部分國家進行巡演時受眾的反應(yīng)評價作一整理。結(jié)語部分從史的角度對論文作了簡略總結(jié),并對“紅色經(jīng)典”作品在當(dāng)下重塑的意義進行了思考。
[Abstract]:In the early 1940s, Mao Zedong published the speech at the Yan'an Literature and Art Symposium, which not only had an important impact on the Yan'an literary and artistic movement, but also provided a guiding direction for the literary and artistic creation in the Yan'an period. In the whole Yanan literary and artistic drama movement, "Bai Mao Nu" represented the highest achievement of drama creation in the Border region and occupied the center of the dissemination of Yan'an 's literary and artistic drama works at that time. 1949 was an important transition period of Chinese society, and the changes of literature and art policy before and after the founding of the people's Republic of China had a corresponding influence on the acceptance and dissemination of White hair Girl. Readers, audience is not only the recipient, but also the audience in the process of literary communication, without the active participation of the audience in the literary creation text, is also of no value and significance. Therefore, this paper chooses 1949 as the time point, from the perspective of literary acceptance and literary dissemination, from the historical development of "White hair Girl" before and after 1949 (such as opera, movies of workers, peasants and soldiers). Japanese adaptation of the ballet) to sort out different space (domestic, foreign) acceptance and transmission trajectory. The first chapter mainly discusses how the political discourse excavates the connotation of "folk story" under the background of Yan'an literary drama movement. The second chapter focuses on different subjects of acceptance, such as literary and art circles, critics, ordinary readers, and so on. It focuses on the reception of the new opera "White-haired" before and after 1949 and its spreading effect at home. Chapter III deals with the repercussions of the film "White-haired" staged at home and abroad in the early days of the people's Republic of China. And the audience evaluation of ballet adapted from the film "Whitehaired Girl" in Japan and China. At the same time, the audience reaction evaluation of the new opera "Whitehaired Girl" in some countries of Eastern Europe is sorted out. The conclusion summarizes the thesis from the historical point of view, and thinks about the significance of the remolding of the Red Classic in the present.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.3

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相關(guān)期刊論文 前1條

1 賈克;也談歌劇《白毛女》的創(chuàng)作[J];新文化史料;1996年06期

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本文編號：1881946