探析伪满洲国戏剧的生存状态  

Analysis of the Living State of the Puppet Manchuria Drama

作　　者：胡子希[1] 杨雪[1] 

机构地区：[1]吉林艺术学院,吉林长春130021

出　　处：《吉林艺术学院学报》2017年第2期50-55,共6页Journal of Jilin University of Arts

基　　金：吉林省教育厅课题<伪满洲国戏剧的生存状态研究>系列成果之一(吉教科文合字(2016)第221号);吉林省哲学社科基金项目<伪满洲国戏剧的生存状态研究>系列成果之一(2016B25)

摘　　要："九·一八"事变后,日本侵略者占领了东三省,一手炮制了带有浓重"日伪"烙印的伪满洲文化。由于深刻的民族伤痛,使得伪满洲国的文化被打上了"敌伪"的标签而遭到长时间无人问津的结果。然而如此严苛的文化生存环境之下,伪满洲国的戏剧却出现了逆向繁荣的景象。它以娱乐性、虚拟性独特的媒体方式传达着沦陷区知识分子对于文化自由的追求。伪满洲国戏剧与小说、散文等多种文体共同形成了沦陷区文化的风景图。After the ＂September 18 th Incident＂, the Japanese invaders occupied the three northeast provinces of China, and set up the Puppet Manchuria culture marked with a ＂puppet＂. Because of deeply national grief, the Manchuria culture with ＂pseudo＂ label has been ignored for a long time. Under such harsh cultural living environment, the drama at that time showed the phenomenon of ＂reverse prosperity＂. It conveys the pursuit of cultural freedom by the intellectuals in enemy occupied areas by means of the unique media with entertainment and virtuality. The many styles of drama, novel, prose, etc. composed the cultural scene of the enemy occupied area.

关 键 词：伪满洲国 戏剧 生存状态 殖民意识 

分 类 号：J809[艺术—戏剧戏曲]