Research On The "Southern Country" Series Of Journals (1928.10-1930.9) And The "left Turn" Of The Southern Country Societ

Founded by Tian Han in the 1920 s,Cercle Artistique du Midi was an art group whose main activity was theater.Its left-turn is a major event in the history of theatre movement of the left of the 1930 s.The process of Cercle Artistique du Midi’s left-turn is complex,delayed and unstable,so studying the left-turn as a process rather than an established fact is conducive to understanding the choice of the theater people represented by Cercle Artistique du Midi under the wave of the left era.The reorganization of the Cercle Artistique du Midi,prepared in October 1928,was the starting point of its left-turn;the three public performances from December 1928 to June 1930 were the bright line,and the Le Mid series of periodicals consisting of Le Midi Monthly,Le Midi Weekly,Modern Monthly and the Public Performance Special Publication were the dark line,which together formed the left-turn of Cercle Artistique du Midi.The left-turn was divided into three stages:The first stage,from October 1928 to July 1929,was the preparatory period for the leftturn.The first phase of public performances presents the "artistic supremacy",which exposed the problem of Cercle Artistique du Midi’s detachment from the people and revised and improved Tian Han’s "popular theater view".The public performance in Guangdong caused the first split in the Cercle Artistique du Midi and challenged the position of in-the-field.The results of the public performance were published in the form of a text in the Le Midi Monthly,which was characterized by "art first" and "get closer to the people ".The second stage,from July 1929 to December 1929,was a period of choice in which the movement turned.The banning of "The Death of Sun Yat-sen" made it impossible for Cercle Artistique du Midi to make a right-turn.The independence of the Modern Society was the biggest split of Cercle Artistique du Midi,and during this period the Le Midi series of periodicals took shape,and Cercle Artistique du Midi took this as a position to hold a great discussion on "the relationship between art and the people" and " how to take the third path of art".The third phase,from December 1929 to September 1930,was the transition period of Cercle Artistique du Midi.Tian Han published "Our Own Criticism" and publicly announced that Cercle Artistique du Midi had changed its position from in-the-field to left,while the third public performance of "Carmen" showed the shift of "class consciousness".The Le Midi series of periodicals also reflected the change in ideology from "artistic revolution" to "class struggle" among Cercle Artistique du Midi members.With the establishment of Chinese Leftist Dramatist Alliance and the closure of Cercle Artistique du Midi,the original members successively joined the left trend,completing the stitching of their cultural and political identities.The first and second stages involved the choice of positions between in-the-field and attached official,while in the second and third stages,there were two paths: left and right.Therefore,Cercle Artistique du Midi ’s left-turn is a process of constantly choosing and eliminating wrong answers.There are three main factors that influence its choice.First,the intervention of political forces,mainly in the form of the official coercive power of the Kuomintang and the competition between the Communist Party and the Kuomintang for literary and artistic discourse.Second,the dislocation of identity,as the members of Cercle Artistique du Midi experienced Bohemian artists,artistic pioneers,and leftist dramatist.Third,Tian Han’s personal choice.From "My New Awakening" to "The New Unity of Cercle Artistique du Midi " to "Our Own Criticism," these articles reveal Tian Han’s desire to establish a united front for the arts.This desire was both the driving force behind his Le Midi art movement and the fundamental factor behind the left-turn of the Cercle Artistique du Midi.