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作 者:郑立柱 庞琳[3,4] ZHENG Li-zhu;PANG Lin
机构地区:[1]河北大学马克思主义学院 [2]河北大学红色文学与文化研究中心 [3]河北大学历史学院 [4]北华航天工业学院马克思主义学院
出 处:《河北学刊》2024年第5期218-224,共7页Hebei Academic Journal
基 金:2019年度河北省社会科学基金重大项目“晋察冀抗日根据地红色资源保护与开发研究”(HB19ZD09)。
摘 要:抗日根据地开辟以前,秧歌戏广受晋察冀乡村民众喜爱,是其精神文化生活的重要组成部分,在乡村社会有着广泛而深入的影响。但传统秧歌戏多宣扬封建伦理道德,与全民抗战的大背景不相适应。为了充分发挥秧歌戏在民众动员中的价值和优势,边区戏剧工作者对传统秧歌戏进行了利用、改造和创新,革命秧歌戏开始出现。最初的革命秧歌戏多采用“旧瓶装新酒”的方式,沿用旧的形式而渗入新的内容,虽满足了抗战动员的需求,但也产生了诸多问题。在解决“旧瓶装新酒”式革命秧歌戏相关问题的过程中,革命秧歌戏得以成熟和发展,新型秧歌剧逐步形成。革命秧歌戏在满足民众精神文化生活的同时,也有力地配合了中共领导的抗日根据地各项工作,对教育和动员民众拥护、支持和参与中共革命斗争发挥了极为重要的作用。Before the establishment of the resistance base,Yangge opera was widely loved by the rural populace of the Jin-Cha-Ji region and was an important part of their spiritual and cultural life,exerting a broad and profound influence on rural society.However,traditional Yangge opera often promoted feudal ethics and morals,which were not compatible with the overall context of the national resistance against Japan.To fully leverage the value and advantages of Yangge opera in mobilizing the populace,theater workers in the border region utilized,transformed,and innovated traditional Yangge opera,leading to the emergence of revolutionary Yangge opera.Initially,revolutionary Yangge operas often adopted the approach of“old bottles filled with new wine”,retaining old forms while incorporating new content.Although this met the needs for war mobilization,it also generated many problems.Through addressing issues related to the“old bottles filled with new wine”approach in revolutionary Yangge operas,these operas matured and developed,gradually forming a new type of Yangge opera.Revolutionary Yangge opera not only satisfied the spiritual and cultural life of the populace but also effectively supported various efforts in the resistance base areas led by the CPC,playing an extremely important role in educating and mobilizing the populace to supportand participate in the revolutionary struggle led by the CPC.
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