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伪满洲国时期出现的戏剧大众化理论,是1930年代文艺界关于大众化理论探究的延续与对接,是关系与影响伪满时期戏剧发展的核心问题。在伪满特殊的殖民文化语境下,对戏剧大众化的理论探讨显示出自身的独特性,一方面规避政治性因素,多从戏剧的社会效用及学理角度进行理论分析;另一方面凸显出对外部文化极大的兼容性。在理论上,伪满戏剧者追求戏剧的民众化与演剧的简素化,倡导戏剧能够深入民间和民众,强调戏剧演出的简易以及非盈利和非娱乐性质。在具体的演剧实践上,研究者大力普及大众化的戏剧演出形式,提倡野台剧与素人演剧等方式。
The popularization of drama in the period of puppet Manchukuo was the continuation and connection of the exploration of popularization theory in literary and art circles in the 1930s and was the core issue of the relationship between drama and the development of drama during the period of puppet Manchukuo. Under the special circumstances of colonial culture in Manchukuo, the theoretical discussion on the popularization of the drama shows its own uniqueness. On the one hand, it avoids the political factors, on the other hand, it makes theoretical analysis from the social utility and the academic perspective of the drama. On the other hand, Great cultural compatibility. In theory, puppet dramatists pursue the simplification of popularization and drama of drama, advocating that drama can penetrate into the private sector and the general public, emphasizing the simple, non-profit and non-recreational nature of theatrical performances. In the concrete practice of the drama, the researchers popularize popular forms of theater performance and advocate the production of wild Taiwan dramas and prime plays.