中华传统文化创造性转化创新性发展的文化主体性建构——以秧歌剧《兄妹开荒》的创作演出为例  

The Construction of Cultural Subjectivity in the Creative Transformation and Innovative Development of Chinese Traditional Culture——On the Creation and Performance of the Yangko Opera Brothers and Sisters Reclaiming Wasteland

作　　者：鞠忠美 Ju Zhongmei(School of Marxism,Shandong College of Arts,Jinan 250300,China)

机构地区：[1]山东艺术学院马克思主义学院,山东济南250300

出　　处：《齐鲁师范学院学报》2022年第6期121-127,共7页Journal of Qilu Normal University

基　　金：山东省社科规划地方党史研究专项“乡村振兴视域下山东抗日根据地农村党组织文化建设经验研究”(18CDSJ14)的阶段性成果。

摘　　要：建构文化主体性是推动实现中华传统文化创造性转化创新性发展的关键一环。《兄妹开荒》是抗日战争时期王大化等人在传统民间秧歌舞基础上创编演出的秧歌剧。在创作表演过程中,文化主体在深化对文艺服务对象和不同表演形式认识的基础上,综合创新形成一种新的符合实际的表演形式以表达新的文化内容。在实现中华传统文化创造性转化创新性发展的过程中,文化主体性主要体现为文化认同、文化自信、文化自觉、文化实践。文化主体性的建构可从坚持科学理论指导、树立正确传统文化观、塑造主体责任意识、提高创造创新能力四个方面着手。The construction of cultural subjectivity is the key to promote the creative transformation and innovative development of traditional Chinese culture.Brothers and Sisters Reclaiming Wasteland is a Yangko opera created and performed by Wang Dahua and others on the basis of traditional folk Yangko dance during the War of Resistance against Japanese Aggression.In the process of creation and performance,the cultural subject forms a new practical performance form to express the new cultural content on the basis of deepening the understanding of the service object of literature and art and different performance forms through comprehensive innovation.In the process of realizing the creative transformation and innovative development of traditional Chinese culture,cultural subjectivity is mainly embodied in cultural identity,cultural confidence,cultural consciousness and cultural practice.The construction of cultural subjectivity can be constructed from four aspects:adhering to the guidance of scientific theory,setting up correct traditional cultural view,strengthening the consciousness of subject responsibility and improving the ability of creation and innovation.

关 键 词：文化主体性 中华传统文化 创造性转化创新性发展 《兄妹开荒》 

分 类 号：G641[文化科学—高等教育学]