解放区新洋片的媒介、创作及宣传  

Media,Creation and Promotion of New Raree Shows in the Liberated Areas

作　　者：刘坛茹[1] 龙迪勇[2] Liu Tanru;Long Diyong

机构地区：[1]安徽师范大学美术学院 [2]东南大学艺术学院

出　　处：《美术》2021年第7期96-102,共7页Art Magazine

基　　金：教育部人文社会科学研究一般项目“解放区木刻版画的声音叙事研究(1937-1949)”(项目批准号:19YJA751029)的阶段性成果

摘　　要：自1942年《在延安文艺座谈会上的讲话》发表后,解放区掀起了文艺大众化的热潮,新洋片作为一种融合了美术、诗歌、音乐、说唱等多种艺术门类于一体的艺术革命实验,开辟了一条美术与群众结合的道路。新洋片重视媒介互构,追求“出位之思”的审美和跨媒介的叙事效果。新洋片遵循集体创作原则和方法,表演时的说唱以一种声音文化,对乡村民众起到了一种情感动员和革命启蒙效果,为解放区乃至中国革命的艺术研究打开了新的维度和空间。After the publish of Talks at the Yan’an Forum on Literature and Art in 1942, a surge emerged in the liberated areas to popularize literature and art. A new form of raree show, as a revolutionary experiment of art integrated with various forms of art including painting, poetry, music and verse, paved a new way that combined art with the general public. It emphasized mutual-construction among media, pursuing an "andersstreben" style of aesthetics and a cross-medium effect of narrative. This new form of art adopted a principle and approach of collective creation. Lyrics during the performance mobilized rural residents emotionally and enlightened them on the revolutionary thoughts in a vocal form, which unlocked a new dimension and space for art researches in the liberated areas and even the entire coverage of China’s revolution.

关 键 词：解放区 新洋片 媒介互构 集体创作 

分 类 号：J209[艺术—美术]