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黎锦晖的儿童歌舞剧在1920年代曾风靡全国,在民国上海都市文化中,也扮演着举足轻重的角色,其经典剧目《葡萄仙子》、《麻雀与小孩》几乎成为各种游艺会的必演剧目。然而在1930年代改革家们的民族宏大叙事中,这些歌舞剧又成为取缔和整改的对象。本文既从1930年代社会改革家的话语体系中去认识儿童歌舞剧,又把儿童歌舞纳入1920年代末的都市文化中去考察,比较双重语境中的儿童歌舞,揭示近代民族救亡与都市现代性之间的内在张力。
Li Jinhui’s children’s song and dance drama swept the country in the 1920s and played a decisive role in the urban culture of the Republic of Shanghai. The classic plays Grapevine, Sparrow and Child almost became the play of various amusement games. However, in the national grand narratives of the reformers in the 1930s, these musicals became the object of banning and rectification. This article not only recognizes the children’s song and dance from the discourse system of social reformers in the 1930s, but also includes the children’s song and dance in the urban culture in the late 1920s to examine and compare the children’s song and dance in the dual context and to reveal the modern national salvation and urban modernity The internal tension between.