殖民语境与东北沦陷时期话剧倾向与形态的复杂性  

The Colonial Context and Complexity of Literature and Drama in Northeast during the Japanese Occupation of China

作　　者：逄增玉[1] 孙晓萍[2] 

机构地区：[1]中国传媒大学文学院 [2]中国传媒大学文化产业研究院,北京100024

出　　处：《晋阳学刊》2011年第6期121-125,共5页Academic Journal of Jinyang

基　　金：国家社会科学基金项目"东北现代文学史论"(07BZW058)的研究成果

摘　　要：东北沦陷后,殖民者对东北文学戏剧由初期的默许到很快进行限制整肃,并出台法西斯性质的《艺文指导要纲》进行"国策"指导,构成一套完整的殖民压迫语境。在此语境下,沦陷时期东北的话剧在初期曾出现昙花一现的左翼戏剧,在中后期则被"国策"御用。但是即便殖民者允许或御用的戏剧团体创作和演出的话剧中,其倾向和面貌也是曲折复杂的,或者在表面的顺从下表达出委婉的抵抗意识,或者在"配合"中暗含曲折的心曲,而这些都是需要仔细辨别的。After Japanese occupation of Northeast of China,Japanese colonists remained silent on the literature and drama in Northeast,then made restrictions and purge,which introduced the fascist law to rule Northeast in the name of National Policy.This formed a colonial context in which there had been a wave of the left-wing drama in the early occupation,then incorporated into Japanese colonial policy.These dramas were complicated,which hid resistance under the appearance of compliance,which need be identified carefully.

关 键 词：沦陷时期 殖民语境 话剧 倾向性 

分 类 号：I207.34[文学—中国文学]