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“戏改”开展以来,国家曾尝试通过支外、转业、返乡等方式对个体艺人和私营剧团进行改造,但这些方式却一再出现反弹,不论是城市的街头、郊县的茶馆还是农村的大队,都能看到流散艺人和无证剧团的踪迹。特别是在刚刚度过困难时期的1962年,他们的活动尤为活跃,反映出政治、市场与文艺在这一国家政策缓和的特殊时期的关系。从中可考察文艺改造在城乡推行时的不同效果,并探讨社会主义国家对文艺的管控态度。
Since the launch of the “Drama Reform”, the state has tried to transform individual entertainers and private theater companies by means of substituting, relocating and returning home. However, these methods have repeatedly rebounded. Whether in the streets of cities or teahouses in suburbs, The brigade in the countryside can see the traces of the diasporic artists and the undocumented theater troupes. Particularly in 1962, when the difficult period was over, their activities were especially active, reflecting the special relationship between politics, markets and literature and art in this national easing. From this, we can examine the different effects of the transformation of literature and art in urban and rural areas and explore the attitude of the socialist countries in their control over literature and art.