情感视域下的传统戏剧改造与革命动员——以华中抗日根据地为考察中心  

Transformation of Traditional Drama and Revolutionary Mobilization from the Emotional Perspective:Centred on Central China Anti-Japanese Bases

作　　者：王亿千 张文涛[1] WANG Yiqian;ZHANG Wentao(School of Social Development,Yangzhou University,Yangzhou,Jiangsu,225009,China)

机构地区：[1]扬州大学社会发展学院,江苏扬州225009

出　　处：《盐城师范学院学报（人文社会科学版）》2024年第3期23-30,共8页Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)

基　　金：国家社会科学基金项目“后五四时代的社会科学思潮研究”(22FZSB075)。

摘　　要：全面抗战时期,华中抗日根据地的戏剧工作者在深入群众的过程中逐渐认识到传统戏剧在群众动员中的独特优势。为使其能服务于抗战宣传,戏剧工作者先后采用“旧瓶装新酒”与“新瓶装新酒”的方式,分别从内容和形式两方面对其进行有步骤、全方位的革命化改造。经过改造的传统戏剧在内容上与群众斗争实践紧密相连,在形式上也增强了情绪感染力,成为中国共产党施行情感动员的利器。这使传统戏剧在实际的演出过程中能够迅速激起现场观众的情感共鸣,产生有效互动,从而有力配合了根据地各项工作的深入开展。就此而言,中国共产党的情感动员实践,其内在逻辑与运作机制仍是党的群众路线的生动体现。During the period of Anti-Japanese War,the writers and artists in Central China Anti-Japanese Bases gradually realized the unique advantages of traditional drama in mass mobilization.In order to better serve the publicity of the significance of Anti-Japanese War,drama workers adopted the methods of “new wine in old bottles” and “new wine in new bottles”,so as to carry out step-by-step and all-round revolutionary transformation both in content and form.After that,the content of traditional dramas became closely connected with the mass struggle,with greater empathy between the performers and audience.These dramashave became a powerful vehicle for emotional mobilization by the Communist Party of China.The emotional resonance of the audience was quickly aroused in the performance,with effective interaction between performers and audience,facilitating the revolutionary struggle in the bases.In this regard,the internal logic and operation mechanism of emotional mobilization have embodied the mass line of our Party.

关 键 词：华中抗日根据地 传统戏剧 情感动员 革命动员 

分 类 号：K269.5[历史地理—历史学]