“突击生产”与“集体创作”:苏区红色戏剧的组织化生产  

"Assault Production"and"Collective Creation":Discussion on the Organized Production of Red Dramas in the Soviet Area

作　　者：刘文辉[1] Liu Wenhui

机构地区：[1]东华理工大学江西戏剧资源研究中心,江西南昌330013

出　　处：《苏区研究》2021年第6期40-51,共12页

基　　金：国家社会科学基金一般项目“20世纪中国文学发展进程中的苏区经验研究”(15BZW148)。

摘　　要：革命把戏剧从都市带到乡村,改变了戏剧的生存空间,也改变了戏剧的生产方式,使戏剧生产脱离世俗化的市场轨道,进入革命的组织化流程。革命者通过实施短期突击计划,发展革命竞赛,加强临时突击生产,组织批量复(仿)制等方式不断扩大戏剧生产与再生产,强化革命的突击动员。与此同时,通过组织人员即兴“凑戏”,组建创作小组,公开向工农兵大众征稿等方式积极推动集体创作。突击生产与集体创作构成了苏区红色戏剧最主要的生产方式。红色戏剧的组织化生产既满足了革命动员的现实需求,也契合了革命者关于无产阶级文化生产的文化想象;既是一种现实的革命动员策略,也是工农大众的集体化生活形式。The revolution brought drama from the city to the countryside,changed the living space of drama,and also changed the production method of drama.It made drama production break away from the secular market track and entered the revolutionary organizational process.The revolutionaries expanded continuously the production and reproduction of drama by implementing short-term assault production plans,developing revolutionary competitions,strengthening temporary assault production,and organizing batch duplication(imitation),which aimed to intensify revolutionary assault mobilization.At the same time,the revolutionaries actively promoted collective creation by organizing personnel to create improvisationally,forming creative teams,and publicly soliciting contributions from the workers,peasants and soldiers.Assault production and collective creation constitute the most important production method of red drama in the Soviet area.The organized production of red drama not only satisfied the actual needs of revolutionary mobilization,but also conformed to the revolutionary's cultural imagination of proletarian cultural production;it was not only a realistic revolutionary mobilization strategy,but also was a kind of collective life form for the workers and peasants.

关 键 词：苏区戏剧 突击生产 集体创作 组织化 

分 类 号：D231[政治法律—政治学]