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作 者:逄增玉[1] PANG Zeng-yu(College of Humanities,Communication University of China,Beijing 100024,China)
出 处:《厦门大学学报(哲学社会科学版)》2023年第1期141-149,共9页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)
基 金:国家社会科学基金一般项目“百年东北话剧史”(21BZW196)。
摘 要:东北沦陷时期,日伪一方面制定和实施了对思想文化和文学艺术进行严酷打压、限制和管控的政策与措施,一方面为了装点伪满洲国的所谓“五族协和、王道乐土”的“建国宗旨”和文化“繁荣”——实质是殖民文化的推进与落实,在话剧领域也推出和施行了多样化的举措。日伪政府和其控制的各种协会团体与媒体在严酷打压左翼进步话剧团体的同时,也有目的地建立和组织文化殖民性质的职业剧团、协和剧团和放送(广播)剧团,管控民间剧团,并在话剧剧本征集、话剧的舞台演出与巡演、剧本创作和演出的比赛与奖励、剧本发表与出版和理论批评等方面,开展较为频繁的管控与扶植杂糅的活动。由此,他们建构了一套较严密全面的话剧生产与传播的机制和装置,呈现出东亚殖民主义的文化症候。During the Japanese occupation of Northeast China,on one hand,the Japanese puppet government formulated and implemented harsh policies and measures to suppress,restrict and control ideology,culture,literature and art.On the other hand,they promoted the “purpose of the founding of the state” and cultural “prosperity” to decorate the so-called “coalition of five nationalities for the construction of a paradise of benevolent government” for the puppet state of Manchukuo.In the field of drama,a wide variety of measures were implemented.The Japanese puppet government and many associations and media organizations under its control purposely organized cultural-colonial professional drama troupes,concord drama troupes and broadcasting troupes,and controlled folk drama troupes,while severely suppressing the left-wing progressive drama troupes.Frequent control and support activities were also carried out in terms of collecting drama scripts,staging dramas and organizing competitions and presenting awards for script writing and performances,as well as in script publication and theoretical criticism.This led to a more rigorous and comprehensive set of mechanisms and devices for the production and dissemination of dramas that exhibited the cultural characteristics of East Asian colonialism.
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