摘要
本文在国际先锋主义视野下探讨田汉在抗战时期“创造新女性”和“到民间去”的艺术政治实验。文章首先初步梳理了“先锋”与“人民”的辩证关系,继而讨论抗战文艺与“传统”的深刻关联及其跨媒介实验的品格。文章进而聚焦田汉作品中“儿女”与“英雄”两种艺术政治倾向的绵密交织。从电影《风云儿女》中“儿女”到“英雄”的蜕变到抗战剧《卢沟桥》在“戏剧游击战”中的教育作用,从平剧《新儿女英雄传》中女战士间的情愫到话剧《秋声赋》中战时三角恋对女战士的塑造,最后在电影《忆江南》对《风云儿女》的反思中,探究“英雄”与“儿女”的不可切割。文章结语将田汉的战时艺术实践置于艺术与政治、先锋与大众的汇流之中,上承两次世界大战之间的国际先锋主义,下启共和国初期社会主义先锋主义的艺术实验。
This essay explores Tian Han’s artistic and political experiments of“creating the new woman”and“going to the people”during the War of Resistance against Japanese Aggression in the context of the international avant-garde.It begins with a discussion of the dialectic relationship between“the avant-garde”and“the people”,and continues to examine War of Resistance literature and art works and their profound connections with“tradition”,as well as their experimental,intermedial qualities.The essay then zooms in the intricate intertwinement of two artistic and political tendencies in Tian Han’s works,represented by the imageries of“lovers”and“heroes”:from the transformations of“lovers”to“heroes”in the film Fengyun Ernüto the pedagogical function of the anti-Japanese drama Lugou Qiao in carrying out a“a guerrilla drama warfare”;from the intimacy between female warriors in the Beijing Opera Xin ErnüYingxiong Zhuan to the construction of female soldiers through a wartime love triangle in the spoken drama Qiusheng Fu.The essay finally comes to explore the inseparable connections between“heroes”and“lovers”through the 1947 film Yi Jiangnan’s reflection of the 1935 film Fengyun Ernü.The essay concludes by situating Tian Han’s wartime experiments in the context of the confluence of art and politics,and of the avant-garde and the popular.It further reads these experiments as connecting back to the interwar international avant-garde and ushering in the artistic experiments of the socialist avant-garde of the early People’s Republic of China.
作者
金玥(译)
LUO Liang;JIN Yue
出处
《济南大学学报（社会科学版）》
CSSCI
2021年第4期47-73,158,共28页
Journal of University of Jinan:Social Science Edition
