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1937年11月上海沦为“孤岛”后,进步的戏剧工作者大多被迫撤离上海。中国共产党为了在五百万上海人民的心中筑起一道“心防”,安排一些党员留下来坚守演剧阵地。为此,于伶、阿英等人团结一批进步的话剧工作者,于1938年7月正式在法租界成立了上海剧艺社,运用曲折隐蔽的方式开展革命戏剧运动。当时,“孤岛”处于敌伪的四面包围之中。租界当局不敢得罪日本侵略者,对租界内的抗日活动严加限制。一个剧团要想在租界里演戏,必须要闯过三道难关:一是要向租界当局办理登记手续,报送负责人和演职员名单,不经批准,不许活动;二是要把准备演出的剧本译成外文,报送租界当局审查;三是没有固定阵地,要自寻演出场所。在这种险恶的政治形势和困难条件下,上海剧艺社坚持革命话剧运动,演出
After Shanghai became an “isolated island” in November 1937, progressive theater workers were mostly forced to leave Shanghai. In order to build a “heart defense” in the hearts of the 5 million Shanghai people, the Chinese Communist Party has arranged for some party members to stay and stick to the theater of operations. To this end, Yu Ling, Ah Ying and others unite a group of progressive theatrical workers, in 1938 July formally established in the French ConcessionShanghaiTheatrical Society, the use of tortuous ways to carry out the revolutionary drama movement. At that time, the “isolated island” was surrounded by the enemy with all sides. The concession authorities did not dare to offend Japanese invaders and imposed severe restrictions on the anti-Japanese activities in the concession. A troupe in order to play in the concession must break through three difficulties: First, to the concession authorities to register, submit the list of responsible persons and credits, without permission, not allowed to activities; second is to prepare for the performance Script translated into foreign languages, submitted to the concession authorities for review; Third, there is no fixed position, to find venues. In this sinister political situation and difficult conditions, the Shanghai Theater Arts adhere to the revolutionary drama movement, performance