论抗战活报剧艺术形态与演出形式  

On the Artistic Form and Performance Form of Skits During the Anti-Japanese War

作　　者：胡丽 刘文辉[1] HU Li;LIU Wen-hui(School of Literature and Law,East China University of Technology,Nanchang 330013,China)

机构地区：[1]东华理工大学文法学院,江西南昌330013

出　　处：《东华理工大学学报（社会科学版）》2020年第4期354-358,共5页Journal of East China University of Technology(Social Science)

基　　金：2020年度东华理工大学研究生创新专项资金立项项目“抗战时期活报剧研究”(DHYC-202031)。

摘　　要：活报剧是20世纪初兴起的一种新型演剧形式,由李伯钊自苏联引进苏区。抗战时期,活报剧在继承苏区活报的基础上蓬勃发展,成为抗战戏剧舞台上最重要的演出形式之一。抗战活报剧超越话剧式对话,走向综艺化表演,融合多元的艺术手段;超越具象和幻觉型舞台,走向程式化表演,不求“真”而求“实”;超越“静观”,走向观演一体化,追求自由和开放,引导观众参与演出。抗战活报剧虽然在演出上有些粗糙,充斥着政治教化气息,但它的发展是抗战戏剧深入发展的产物,它折射出抗战演剧的整体进程和艺术成就,丰富了中国戏剧的演剧形式,表现出其独特的艺术形态。Skit was a new form of drama that emerged in the early 20th century,introduced to Soviet Area from the Soviet Union by Li Bo-zhao.During the Period of Anti-Japanese War,skits developed vigorously on the basis of inheriting the skit of Soviet Area,and became one of the most important forms of performance on the stage of Anti-Japanese War Drama.Skits of Anti-Japanese War surpassed drama-style dialogue to head to variety show and integrate multiple artistic means,surpassed concrete image and hallucination stage to head to stylized performance and surpassed"watching"to head to the integration of the watching and performance and pursue freedom and openness and guide the audience to participate in the show.Although the Skits of Anti-Japanese War were somewhat rough and full of political indoctrination,their development was the product of the deep development of Anti-Japanese War Drama.Skit reflected the overall process and artistic achievements of the Anti-Japanese War Drama,enriched the format of the Chinese Drama and showed its unique artistic form.

关 键 词：活报剧 抗战时期 艺术形态 演出形式 

分 类 号：J827[艺术—戏剧戏曲]