政治诉求、审美追求与市场需求的碰撞——以《芳草天涯》公演与批评为中心的考察  

Collision among Political Appeal,Aesthetical Pursuit,and Marketing Demand: An Investigation Centered upon the Public Perform and Criticism of "In the End of the World"

作　　者：范卫东[1] 王力[2] 

机构地区：[1]南京艺术学院党委宣传部,江苏南京210013 [2]江苏师范大学文学院,江苏徐州221116

出　　处：《艺术百家》2015年第3期201-205,共5页Hundred Schools In Arts

基　　金：2013年度国家社科基金项目"20世纪中国作家迁徙对文学生态的影响研究"(项目编号:13BZW138)阶段性成果之一

摘　　要：作为抗战时期重庆雾季演出的尾声,夏衍《芳草天涯》在当时市场反应良好却受到以《新华日报》副刊为中心的严厉批评,成为20世纪40年代政治观念引导文艺活动的典型现象。其实该剧的创作、修改、公演与批评,反映的是话剧这种独特的艺术样式在政治诉求、审美追求、市场需求三种主体之间的评价对话,其碰撞既折射出"时代"的局限性,也折射出话剧生存与发展的长期困境。As an epilogue of performance in the fog season in Chongqing in the anti - Japanese war period, ＂ In the End of the World＂ ascribed to Xia Yah was much popular in the market of that time but was seriously criticized by newspaper supplement of Xinhua Daily, which became a typical phenomenon that political opinion guides literary and artistic activity in 1940s. In fact, the creation, re - composition, public performance, and criticism of this play re- flect a collision among political appeal, aesthetical pursuit, and marketing demand of the peculiar artistic type. And the collision reflects limitation of that time and a long- term dilemma of drama~ survival and development.

关 键 词：戏剧艺术 政治诉求 艺术作品 审美追求 市场需求 《芳草天涯》 戏剧演出 

分 类 号：J80[艺术—戏剧戏曲]