抗日戰(zhàn)爭時期延安秧歌劇研究
發(fā)布時間：2018-09-05 14:42
【摘要】： 本文探討的“延安秧歌劇”乃抗日戰(zhàn)爭后期(1942-1945)陜甘寧邊區(qū)產(chǎn)生的“新秧歌劇”。延安秧歌劇在表現(xiàn)形式、風(fēng)格類型上接近民間秧歌中的“小場秧歌”和陜北民間“秧歌戲”;其舞蹈來自民間秧歌,但其音樂則主要來自眉戶。延安秧歌劇剔除了民間秧歌中的“騷情”,力圖反映陜甘寧邊區(qū)的現(xiàn)實(shí)斗爭;在表演方式、角色行當(dāng)、人物造型、服裝道具、舞臺布景上也對民間秧歌進(jìn)行了“改造”�？傊�,延安秧歌劇脫胎于“舊秧歌”,但在諸多方面又有別于民間秧歌,充分體現(xiàn)出了《在延安文藝座談會上的講話》(下簡稱《講話》)精神。 延安秧歌運(yùn)動的興起與發(fā)展有其復(fù)雜的歷史語境,不僅是抗日戰(zhàn)爭時期延安文藝運(yùn)動中“民族化”、“大眾化”探索的結(jié)果,而且還與1942年延安“整風(fēng)”運(yùn)動和其后的《講話》有著密切的聯(lián)系。在《講話》之前,延安戲劇為適應(yīng)戰(zhàn)爭環(huán)境已展現(xiàn)出“民族化”、“大眾化”的探索,但在1939年底后,延安戲劇運(yùn)動中出現(xiàn)了“演大戲”和“關(guān)門提高”傾向,偏離了“民族化”、“大眾化”的道路。延安秧歌劇的興起,無疑得益于“演大戲”和“關(guān)門提高”傾向的糾正。但“唱大戲”和“關(guān)門提高”不僅為秧歌劇提供了一個“反面”教材,而且還為秧歌劇的出現(xiàn)提供了技術(shù)上的儲備。更重要的是,《講話》之前延安文藝工作者對包括舊秧歌在內(nèi)的民間文藝形式的利用已積累了寶貴的經(jīng)驗。1942年5月,毛澤東在“整風(fēng)”中發(fā)表《講話》后,“民族化”、“大眾化”再度成為延安文藝的話語中心,文藝工作者走出“小魯藝”,走進(jìn)“大魯藝”。延安秧歌劇作為一個具有“革命的政治內(nèi)容”、“民族化”、“大眾化”特點(diǎn)的歌舞劇,正是文藝界“整風(fēng)”運(yùn)動的重要成果,也為《講話》所蘊(yùn)含的革命文藝?yán)碚撎峁┝俗⒛_�？谷諔�(zhàn)爭后期的1943年至1945年,從“秧歌下鄉(xiāng)”到“鄉(xiāng)下秧歌”,延安秧歌劇發(fā)展迅速。兩年中不僅產(chǎn)生了數(shù)以百計的劇目,而且其藝術(shù)水平有了較大提高,其表演形式也有了較大創(chuàng)新,其藝術(shù)水平也得到較大提高。以《慣匪周子山》為代表,秧歌劇已展現(xiàn)出向新型歌劇的靠攏,并為“新歌劇”《白毛女》的產(chǎn)生提供重要的鋪墊�？傊�,1937-1942年的抗戰(zhàn)前期可看作延安秧歌劇的準(zhǔn)備時期。從《講話》到《兄妹開荒》的誕生是延安秧歌劇的發(fā)生時期。從1943年夏到1945年抗戰(zhàn)勝利則是延安秧歌劇的發(fā)展時期。 延安秧歌劇雖然是一種融戲劇、音樂、舞蹈為一體的綜合藝術(shù)形式,但其創(chuàng)作卻是以劇作家為主導(dǎo)的。延安秧歌劇音樂既不像歌劇音樂那樣,具有一個完整的、且符合既定原則的音樂結(jié)構(gòu),又不同于眉戶、秧歌戲等陜北民間戲曲音樂,呈現(xiàn)出戲曲音樂的程式性。在大多數(shù)劇目中,音樂不過是一些缺乏關(guān)聯(lián)性的唱段的連接。這就意味著,絕大部分劇目只有一個較完整的戲劇結(jié)構(gòu),并不存在一個完整的音樂結(jié)構(gòu)。延安秧歌劇的音樂大多都來自眉戶曲牌以及道情、陜北秧歌戲和陜北民歌音調(diào),繼承了中國音樂“選曲填詞”的傳統(tǒng),但其中也不乏“改編”、“編曲”的成分�？傮w而言,延安秧歌劇音樂體現(xiàn)出以下特征:第一,以單聲為主、以聲樂為主的音樂構(gòu)成。延安秧歌劇音樂以單聲部的獨(dú)唱為主,合唱段落較為少見;以聲樂的唱段為主,而獨(dú)立的器樂段則較為少見。第二,“選曲填詞”、“一曲多用”的創(chuàng)作模式。延安秧歌劇音樂主要來自既有音調(diào)(主要是眉戶曲牌),其創(chuàng)作者根據(jù)藝術(shù)表現(xiàn)的需要填上不同的唱詞,并對音調(diào)進(jìn)行相應(yīng)的改動。第三,以陜北民間音樂風(fēng)格為主的音樂風(fēng)格。延安秧歌劇的音樂呈現(xiàn)出陜北民間音樂中的“苦音”徵調(diào)式音階、以“純四度”為骨干音程的“音程框架”及基于眉戶曲牌的“音調(diào)模式”,總體上具有濃郁的地域風(fēng)格。盡管絕大多數(shù)秧歌劇中并不存在一個與情節(jié)發(fā)展、戲劇矛盾展開相吻合的音樂結(jié)構(gòu),但并不意味著其音樂完全脫離了戲劇。大多數(shù)唱段中音調(diào)的選用都考慮到了情緒變化和人物性格,如對眉戶曲牌的選用就與眉戶曲牌藝術(shù)表現(xiàn)的既有規(guī)定性相符合;少數(shù)劇目的整體音樂設(shè)計也與戲劇的情節(jié)發(fā)展與矛盾展開相吻合。 延安秧歌劇不僅具有革命文化特征、地域文化特征,而且還具有基于延安知識分子群體的文人文化特征,體現(xiàn)出文化的多元性。延安秧歌劇作為“翻身秧歌”、“斗爭秧歌”、“勝利秧歌”,具有“革命的政治內(nèi)容”,以“歌頌人民,歌頌勞動,歌頌革命戰(zhàn)爭。它以軍民團(tuán)結(jié)、對敵斗爭、組織勞動力、改造二流子、增加生產(chǎn)、破除迷信、提倡衛(wèi)生等為主題”,旨在表現(xiàn)陜甘寧邊區(qū)的現(xiàn)實(shí)斗爭。但更為重要是,延安秧歌劇繼承和發(fā)展了“五四”以后“民族化”和“大眾化”的革命文藝傳統(tǒng),體現(xiàn)出了那種以“革命”及其政治目的為終極目標(biāo)的“實(shí)用理性”。地域特色是延安秧歌劇最重要的底色。這無疑得益于“民族化”和“大眾化”的追求。延安秧歌劇的地域文化特征可概括為兩個范疇:“原始”與“狂歡”。所謂“原始”就是語言形式上的“原生態(tài)”,就在延安秧歌劇的音樂風(fēng)格、人物造型、表演模式、唱詞和對白仍保持著陜北民間藝術(shù)的原汁原味;所謂“狂歡”就是精神氣質(zhì)上的“喜劇性”,就在于延安秧歌劇表達(dá)出了民間藝術(shù)那種特有的詼諧和幽默。延安秧歌劇雖然是一種“農(nóng)民文化”,但又畢竟是延安文人與陜北民間互動、對話的結(jié)果,故不失人文文化特征。就像其人文情趣不足以遮蔽其地域色彩一樣,其地域色彩也不能掩蓋其文人情趣。這種文人文化特征就是那種蘊(yùn)含在其表現(xiàn)形式中的“法則”和對民間秧歌“狂歡”的“規(guī)訓(xùn)”。但其文人文化特征的體現(xiàn)也是以“革命”文藝?yán)碚摓橐劳械�。就像其地域文化特征與革命文化特征保持耦合互動一樣,其文人文化特征與革命文化特征也有著關(guān)聯(lián)。正是在“革命”、“民間”、“知識分子”三者的相互關(guān)聯(lián)和指涉中,延安秧歌劇獲得了生存空間和語境。延安秧歌劇體現(xiàn)出了典型的革命文化特征,強(qiáng)烈的地域文化特征,也散發(fā)出了微弱的知識分子氣息。 延安秧歌劇是20世紀(jì)40年代陜甘寧邊區(qū)產(chǎn)生的一種歌舞藝術(shù),是20世紀(jì)中國一個復(fù)雜的文化現(xiàn)象。延安秧歌劇的產(chǎn)生和發(fā)展是以中國革命的需要和抗日戰(zhàn)爭時期陜甘寧邊區(qū)的現(xiàn)實(shí)斗爭為出發(fā)點(diǎn)和最終目的的,具有一切服從革命、一切服從抗戰(zhàn)的終極性。因此,延安秧歌劇反映出了抗日戰(zhàn)爭后期陜甘寧邊區(qū)的斗爭生活,作為一種政治宣傳和教育形式,滿足了陜甘寧邊區(qū)現(xiàn)實(shí)斗爭的需要。甚至可以說,秧歌運(yùn)動本身就是陜甘寧邊區(qū)現(xiàn)實(shí)斗爭的一部分,因為其產(chǎn)生和發(fā)展無疑也是延安的文化斗爭為契機(jī)的。如果說“鄉(xiāng)下秧歌”是力圖使民間秧歌“改造”成一種新的農(nóng)民藝術(shù),一種“表現(xiàn)了新的群眾的時代”的藝術(shù),那么“秧歌下鄉(xiāng)”則旨在將秧歌成為一種有別于“左翼”文藝的、真正的革命文藝,并使之成為“改造”知識分子的熔爐。延安秧歌劇的政治指向決不僅限于其思想主題的政治取向,而且還在于對陜甘寧邊區(qū)農(nóng)民藝術(shù)的“改造”和對知識分子及其知識分子文藝的“改造”。延安秧歌運(yùn)動是1942年《講話》發(fā)表后掀起的,故從根本上說,秧歌劇是“整風(fēng)”運(yùn)動的重要成果,其產(chǎn)生與發(fā)展和“整風(fēng)”運(yùn)動中“審干”密切相關(guān)。這就意味著,知識分子“改造”了秧歌劇,而秧歌劇卻又“改造”了知識分子。延安秧歌劇作為20世紀(jì)中國一個重要的文化現(xiàn)象,對20世紀(jì)中國音樂的發(fā)展產(chǎn)生了積極影響。但更重要的是,延安秧歌劇是20世紀(jì)中國革命文藝第一個真正的“范本”,因為它第一次真正實(shí)現(xiàn)了革命文藝?yán)碚撆c實(shí)踐的結(jié)合。延安秧歌劇和《講話》一道,對20世紀(jì)中國革命文藝?yán)碚撆c實(shí)踐產(chǎn)生了重要影響,其藝術(shù)特征和審美取向在后來的多種中國文藝形式中得到了回應(yīng)。 延安秧歌是一種典型的革命文藝形式,具有“大眾化”、“民族化”的審美特征,體現(xiàn)出了中國新民主主義革命的要求和指向。延安秧歌劇具有鮮明地域色彩,其音樂具有濃郁的陜北民間音樂風(fēng)格,并呈現(xiàn)出文化的多元性。延安秧歌劇是一種特定歷史語境中產(chǎn)生的藝術(shù)形式,揭示了陜甘寧邊區(qū)的現(xiàn)實(shí)斗爭,并與延安“整風(fēng)”運(yùn)動有著密切聯(lián)系,在20世紀(jì)中國文藝中具有特殊地位,對此后中國革命文藝的發(fā)展產(chǎn)生了重要影響。
[Abstract]:The "Yan'an Yangko" discussed in this paper is the "new Yangko" produced in the Shaanxi-Gansu-Ningxia Border Region in the late period of the Anti-Japanese War (1942-1945). Yan'an Yangko is similar in form and style to the "Xiaochang Yangko" in the folk Yangko and the "Yangko Opera" in northern Shaanxi; its dance comes from the folk Yangko, but its music mainly comes from Meihu. The Yangko opera eliminates the "coquettish feelings" in folk Yangko and tries to reflect the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It also "transforms" the folk Yangko in the performance mode, the role line, the character shape, the costume prop, and the stage setting. In short, the Yan'an Yangko opera was born out of the "old Yangko", but it is different from the folk Yangko in many aspects. It embodies the spirit of the speech at the Yanan Arts Forum.
The rise and development of Yan'an Yangko Movement has its complicated historical context. It is not only the result of the exploration of "nationalization" and "popularization" in the Yan'an literary and artistic movement during the Anti-Japanese War, but also closely related to the "rectification" movement in 1942 and the subsequent "speech". It shows the exploration of nationalization and popularization, but after the end of 1939, there appeared the tendency of "performing great operas" and "closing the door to improve" in Yan'an drama movement, which deviated from the road of "nationalization" and "popularization". More importantly, before the Speech, Yan'an literary and artistic workers had accumulated valuable experience in utilizing folk literary and artistic forms, including the old Yangko. In May 1942, Mao Zedong wrote in "The Speech of the Communist Party of China" "Nationalization" and "Popularization" became the discourse center of Yan'an literature and art again after the "Speech" in the Rectification Movement. Literature and art workers went out of "Xiaolu Art" and into "Dalu Art". From 1943 to 1945, Yan'an Yangko Opera developed rapidly from Yangko to Yangko in the countryside. During the two years, not only hundreds of operas were produced, but also their artistic level was greatly improved and their performance forms were also improved. In a word, the early period of 1937-1942 can be regarded as the preparatory period of Yan'an Yangko Opera. From "Speech" to "Brothers and Sisters Opening up the Waste Land" The birth of Yan'an Yangko was the period of its occurrence, and the victory of the War of Resistance from the summer of 1943 to 1945 was the period of its development.
Although Yan'an Yangkou Opera is a comprehensive art form which combines drama, music and dance, its creation is dominated by playwrights. The music of Yan'an Yangkou Opera is neither like opera music, but has a complete musical structure which conforms to established principles, nor is it different from the folk opera music of northern Shaanxi such as Meihu and Yangkou Opera. In most of the repertoire, music is only the connection of some unrelated arias. This means that most of the repertoire has only a relatively complete drama structure and does not have a complete music structure. The tones of northern Shaanxi folk songs have inherited the tradition of "choosing songs and filling words" in Chinese music, but there are also some elements of "adapting" and "arranging songs". Second, the creation mode of "choosing songs to fill in lyrics" and "using one song for many purposes". The music of Yan'an Yangko Opera mainly comes from the existing tones (mainly Meihu Qupai), whose creators fill in different lyrics and make corresponding changes to the tones according to the needs of artistic expression. The music of Yan'an Yangko Opera is characterized by the "bitter tone" scale, the "interval frame" with the "pure quaternion" as the backbone interval and the "tone pattern" based on Meihu Qupai, which has a strong regional style in general. There is no musical structure that is consistent with plot development and drama contradiction development, but it does not mean that music is completely divorced from drama. The overall music design is also consistent with the plot development and contradiction development of the drama.
Yan'an Yangko not only has the characteristics of revolutionary culture and regional culture, but also has the characteristics of humanistic culture based on Yan'an intellectuals, reflecting the cultural diversity. Yan'an Yangko, as a "turn over Yangko", "struggle Yangko", "victory Yangko", has "revolutionary political content" to "praise the people, praise the people". Labor is a glorification of the revolutionary war.Its theme is unity between the army and the people, struggle against the enemy, organization of labor force, transformation of the second-class, increase production, break superstition, and advocate health.It aims to show the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region.More importantly, Yan'an Yang Opera has inherited and developed the "nationalization" and "popularization" revolution after the May 4th Movement. The literary tradition embodies the "practical rationality" with the ultimate goal of "revolution" and its political purpose. Regional characteristics are the most important background of Yan'an Yangopera, which undoubtedly benefits from the pursuit of "nationalization" and "popularization". The so-called "primitive" is the "original ecology" in the form of language, in Yan'an Yangopera music style, character modeling, performance mode, lyrics and dialogue still retain the original flavor of northern Shaanxi folk art; the so-called "carnival" is the spiritual temperament of "comedy", is that Yan'an Yangopera expresses the special characteristics of folk art. Although Yan'an Yangopera is a kind of "peasant culture", it is the result of the interaction and dialogue between Yan'an literati and the people of northern Shaanxi, so it does not lose its cultural characteristics. Just as its humanistic interest can not cover up its regional color, its regional color can not cover up its literati interest. The "rule" contained in its manifestation and the "discipline" for the "carnival" of folk Yangko are also embodied in the "revolutionary" literary theory. Just as its regional cultural characteristics and revolutionary cultural characteristics remain coupled and interactive, its cultural characteristics and revolutionary cultural characteristics also have their own. It is precisely in the "revolution", "folk" and "intellectuals" of the three interrelated and referential, Yan'an Yangko opera has obtained the living space and context. Yan'an Yangko opera reflects the typical characteristics of revolutionary culture, strong regional cultural characteristics, but also emitted a weak flavor of intellectuals.
Yan'an Yangkou is a kind of singing and dancing art produced in the Shaanxi-Gansu-Ningxia Border Region in the 1940s, and it is a complicated cultural phenomenon in China in the 20th century. The emergence and development of Yan'an Yangkou is based on the needs of the Chinese revolution and the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region during the Anti-Japanese War as its starting point and ultimate goal. It has all obedience to the revolution and Therefore, Yan'an Yangko Opera reflects the struggle life of the Shaanxi-Gansu-Ningxia Border Region in the later period of the War of Resistance Against Japan. As a form of political propaganda and education, it satisfies the needs of the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It is doubtful that the cultural struggle in Yan'an is also an opportunity. If the "rural Yangko" is an attempt to "transform" the folk Yangko into a new peasant art, a "new era of the masses" of art, then the "Yangko to the countryside" is aimed at making Yangko a literary and artistic, truly revolutionary art, different from the "left-wing" literature and art, and to make it a "new era of the masses" of art. The political orientation of Yan'an Yangge Opera is not only limited to the political orientation of its ideological theme, but also lies in the "transformation" of the peasant art in the Shaanxi-Gansu-Ningxia Border Region and the "transformation" of the intellectuals and their intellectuals'literature and art. Essentially speaking, Yangko is an important achievement of the rectification movement. Its emergence and development are closely related to the "examination of cadres" in the rectification movement. This means that intellectuals have "transformed" Yangko, while Yangko has "transformed" intellectuals. The development of Chinese music has exerted a positive influence. But more importantly, Yan'an Yangge Opera is the first true "model" of Chinese revolutionary literature and art in the 20th century, because it has truly realized the combination of revolutionary literature and art theory and Practice for the first time. Its artistic characteristics and aesthetic orientation have been responded to in various forms of Chinese literature and art.
Yan'an Yangko is a typical form of revolutionary literature and art, with the aesthetic characteristics of "popularization" and "nationalization", reflecting the requirements and direction of China's new democratic revolution. An artistic form produced in a specific historical context reveals the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region and is closely related to the "rectification" movement in Yan'an. It has a special position in Chinese literature in the 20th century and has exerted an important influence on the development of Chinese revolutionary literature and art since then.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2010
【分類號】：J822
本文編號：2224592
[Abstract]:The "Yan'an Yangko" discussed in this paper is the "new Yangko" produced in the Shaanxi-Gansu-Ningxia Border Region in the late period of the Anti-Japanese War (1942-1945). Yan'an Yangko is similar in form and style to the "Xiaochang Yangko" in the folk Yangko and the "Yangko Opera" in northern Shaanxi; its dance comes from the folk Yangko, but its music mainly comes from Meihu. The Yangko opera eliminates the "coquettish feelings" in folk Yangko and tries to reflect the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It also "transforms" the folk Yangko in the performance mode, the role line, the character shape, the costume prop, and the stage setting. In short, the Yan'an Yangko opera was born out of the "old Yangko", but it is different from the folk Yangko in many aspects. It embodies the spirit of the speech at the Yanan Arts Forum.
The rise and development of Yan'an Yangko Movement has its complicated historical context. It is not only the result of the exploration of "nationalization" and "popularization" in the Yan'an literary and artistic movement during the Anti-Japanese War, but also closely related to the "rectification" movement in 1942 and the subsequent "speech". It shows the exploration of nationalization and popularization, but after the end of 1939, there appeared the tendency of "performing great operas" and "closing the door to improve" in Yan'an drama movement, which deviated from the road of "nationalization" and "popularization". More importantly, before the Speech, Yan'an literary and artistic workers had accumulated valuable experience in utilizing folk literary and artistic forms, including the old Yangko. In May 1942, Mao Zedong wrote in "The Speech of the Communist Party of China" "Nationalization" and "Popularization" became the discourse center of Yan'an literature and art again after the "Speech" in the Rectification Movement. Literature and art workers went out of "Xiaolu Art" and into "Dalu Art". From 1943 to 1945, Yan'an Yangko Opera developed rapidly from Yangko to Yangko in the countryside. During the two years, not only hundreds of operas were produced, but also their artistic level was greatly improved and their performance forms were also improved. In a word, the early period of 1937-1942 can be regarded as the preparatory period of Yan'an Yangko Opera. From "Speech" to "Brothers and Sisters Opening up the Waste Land" The birth of Yan'an Yangko was the period of its occurrence, and the victory of the War of Resistance from the summer of 1943 to 1945 was the period of its development.
Although Yan'an Yangkou Opera is a comprehensive art form which combines drama, music and dance, its creation is dominated by playwrights. The music of Yan'an Yangkou Opera is neither like opera music, but has a complete musical structure which conforms to established principles, nor is it different from the folk opera music of northern Shaanxi such as Meihu and Yangkou Opera. In most of the repertoire, music is only the connection of some unrelated arias. This means that most of the repertoire has only a relatively complete drama structure and does not have a complete music structure. The tones of northern Shaanxi folk songs have inherited the tradition of "choosing songs and filling words" in Chinese music, but there are also some elements of "adapting" and "arranging songs". Second, the creation mode of "choosing songs to fill in lyrics" and "using one song for many purposes". The music of Yan'an Yangko Opera mainly comes from the existing tones (mainly Meihu Qupai), whose creators fill in different lyrics and make corresponding changes to the tones according to the needs of artistic expression. The music of Yan'an Yangko Opera is characterized by the "bitter tone" scale, the "interval frame" with the "pure quaternion" as the backbone interval and the "tone pattern" based on Meihu Qupai, which has a strong regional style in general. There is no musical structure that is consistent with plot development and drama contradiction development, but it does not mean that music is completely divorced from drama. The overall music design is also consistent with the plot development and contradiction development of the drama.
Yan'an Yangko not only has the characteristics of revolutionary culture and regional culture, but also has the characteristics of humanistic culture based on Yan'an intellectuals, reflecting the cultural diversity. Yan'an Yangko, as a "turn over Yangko", "struggle Yangko", "victory Yangko", has "revolutionary political content" to "praise the people, praise the people". Labor is a glorification of the revolutionary war.Its theme is unity between the army and the people, struggle against the enemy, organization of labor force, transformation of the second-class, increase production, break superstition, and advocate health.It aims to show the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region.More importantly, Yan'an Yang Opera has inherited and developed the "nationalization" and "popularization" revolution after the May 4th Movement. The literary tradition embodies the "practical rationality" with the ultimate goal of "revolution" and its political purpose. Regional characteristics are the most important background of Yan'an Yangopera, which undoubtedly benefits from the pursuit of "nationalization" and "popularization". The so-called "primitive" is the "original ecology" in the form of language, in Yan'an Yangopera music style, character modeling, performance mode, lyrics and dialogue still retain the original flavor of northern Shaanxi folk art; the so-called "carnival" is the spiritual temperament of "comedy", is that Yan'an Yangopera expresses the special characteristics of folk art. Although Yan'an Yangopera is a kind of "peasant culture", it is the result of the interaction and dialogue between Yan'an literati and the people of northern Shaanxi, so it does not lose its cultural characteristics. Just as its humanistic interest can not cover up its regional color, its regional color can not cover up its literati interest. The "rule" contained in its manifestation and the "discipline" for the "carnival" of folk Yangko are also embodied in the "revolutionary" literary theory. Just as its regional cultural characteristics and revolutionary cultural characteristics remain coupled and interactive, its cultural characteristics and revolutionary cultural characteristics also have their own. It is precisely in the "revolution", "folk" and "intellectuals" of the three interrelated and referential, Yan'an Yangko opera has obtained the living space and context. Yan'an Yangko opera reflects the typical characteristics of revolutionary culture, strong regional cultural characteristics, but also emitted a weak flavor of intellectuals.
Yan'an Yangkou is a kind of singing and dancing art produced in the Shaanxi-Gansu-Ningxia Border Region in the 1940s, and it is a complicated cultural phenomenon in China in the 20th century. The emergence and development of Yan'an Yangkou is based on the needs of the Chinese revolution and the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region during the Anti-Japanese War as its starting point and ultimate goal. It has all obedience to the revolution and Therefore, Yan'an Yangko Opera reflects the struggle life of the Shaanxi-Gansu-Ningxia Border Region in the later period of the War of Resistance Against Japan. As a form of political propaganda and education, it satisfies the needs of the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It is doubtful that the cultural struggle in Yan'an is also an opportunity. If the "rural Yangko" is an attempt to "transform" the folk Yangko into a new peasant art, a "new era of the masses" of art, then the "Yangko to the countryside" is aimed at making Yangko a literary and artistic, truly revolutionary art, different from the "left-wing" literature and art, and to make it a "new era of the masses" of art. The political orientation of Yan'an Yangge Opera is not only limited to the political orientation of its ideological theme, but also lies in the "transformation" of the peasant art in the Shaanxi-Gansu-Ningxia Border Region and the "transformation" of the intellectuals and their intellectuals'literature and art. Essentially speaking, Yangko is an important achievement of the rectification movement. Its emergence and development are closely related to the "examination of cadres" in the rectification movement. This means that intellectuals have "transformed" Yangko, while Yangko has "transformed" intellectuals. The development of Chinese music has exerted a positive influence. But more importantly, Yan'an Yangge Opera is the first true "model" of Chinese revolutionary literature and art in the 20th century, because it has truly realized the combination of revolutionary literature and art theory and Practice for the first time. Its artistic characteristics and aesthetic orientation have been responded to in various forms of Chinese literature and art.
Yan'an Yangko is a typical form of revolutionary literature and art, with the aesthetic characteristics of "popularization" and "nationalization", reflecting the requirements and direction of China's new democratic revolution. An artistic form produced in a specific historical context reveals the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region and is closely related to the "rectification" movement in Yan'an. It has a special position in Chinese literature in the 20th century and has exerted an important influence on the development of Chinese revolutionary literature and art since then.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2010
【分類號】：J822
【參考文獻(xiàn)】
相關(guān)期刊論文 前4條
1 惠雁冰;無力的出走:歷史上陜北民歌的精神主題[J];廣西社會科學(xué);2003年02期
2 李澤厚;青年毛澤東[J];河北大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1987年01期
3 文貴良;秧歌劇:被政治所改造的民間[J];華東師范大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2004年03期
4 郭建民;20世紀(jì)20-60年代的中國歌劇表演藝術(shù)[J];音樂研究;2002年01期
相關(guān)碩士學(xué)位論文 前2條
1 苗苗;土地革命時期音樂在我軍政治工作中的地位與作用[D];南京藝術(shù)學(xué)院;2007年
2 師偉偉;知識分子與延安文藝[D];延安大學(xué);2008年
，本文編號：2224592
本文鏈接：http://sikaile.net/wenyilunwen/xijuwudaolunwen/2224592.html
最近更新
教材專著
