The Strongest Chinese Drama Soldiers-The Study Of The Anti-enemy Drama Team

In order to meet the needs of the Anti-Japanese War,literature and art should play a role in propaganda.In August 1938,the Third Office of the Political Department of the national government organized 10 Anti-enemy drama teams and 4 Anti-enemy propaganda teams.The members of these teams are based on the national salvation troupes and local patriotic folk troupes.After gaining legal status,in late August,the Anti-enemy drama team successively went from Wuhan to work in various theater of operations,and brought the seeds of drama to all parts of the country through touring performances and consoling soldiers.The Anti-enemy drama team continued the working style of professional democracy,living democracy and fiscal democracy during the period of national salvation drama troupe.Under the attack of hard living conditions and cruel political persecution,it maintained the united front in cultural work of the Kuomintang controlled area and made an important contribution to the victory of the AntiJapanese War.The Anti-enemy drama team worked continuously for eleven years,and the scope of acting is all over the country,with countless audiences.This is also a unique miracle in the history of human drama.In the exploration of drama,the Anti-enemy drama team also made a unique attempt.The drama team brings drama to the countryside,the army and the front line.It promotes the expansion of the influence of Chinese drama,and then develops into a people's drama with a broad audience base or a new national drama.In this process,the form and content of drama have been transformed in a certain extent.Previous studies generally focused on the "Caotai play" period of this team,but rarely on its later attempt to regularize and Professionalism.The first chapter discusses the drama activities of the Anti-enemy drama teams in the countryside and the front line of the war.In order to cope with the challenges brought by the environment,The teams have made adjustments in both the performance method and the script.Although many of the adjustments are due to lack of choice,their drama performance has brought spiritual comfort to the people in rear areas.In the process of their activities,the teams not only popularized the new spoken-drama,but also brought modern consciousness and national concept to the underdeveloped remote countryside and the war-torn frontline.After 1941,the anti-enemy drama teams also made a professional transformation attempt.The second chapter discusses the influence of the funding mechanism on the Anti-enemy drama team.The fundamental difference between official troupes and professional troupes is political identity and profit-making system.In the early stage,the Anti-enemy drama team maintained its activities through the funds of the national government,and they could concentrate on the propaganda of Anti-Japanese and national salvation without considering the box office.However,due to funds are frequently delayed and deducted,it becomes increasingly difficult to maintain theatrical activities.The shortage of funds has caused a large number of staff loss in the team,which has seriously affected its survival.At the same time,the shortage of funds also limits the promotion of performances.The soaring prices and lack of funds also forced the drama teams seek to transform and begin to sell tickets.The third chapter focuses on the dilemma of the political identity of the Anti-enemy drama team.Because most of the teams secretly set up Communist Party branches,when the relationship between the Kuomintang and the Communist Party deteriorated,the teams suffered a lot of political censorship and persecution.It took a lot of energy to deal with the authorities,which directly led to the dissolution of many drama teams.Guo Moruo and Zhang Fakui provided a lot of help to the team members when they were persecuted.In the past research,they always highlighted Zhou Enlai's role,and rarely mentioned the contribution of the other two.The fourth chapter focuses on the construction of the repertoire.Due to the general difficulty of "script shortage" during the Anti-Japanese War,the drama teams tried a lot of script writing in the early stage,most of which really applied the "Anti-Japanese War stereotyped writing" to solve the local problems flexibility.There were flaws of stereotyped and simplification in the role creation.After 1941,the Anti-enemy drama team worked in the city,most of their plays were adapted from famous dramas,and achieved good performance results.The fifth chapter focuses on the actors and directors in the team,that is,their exploration of stage art.Their early collective director's rough "caotai play" gradually formed their own rehearsal system;their early Street play's "excessive performance" gradually learned and understood Stanislavsky's performance system.In order to enrich the effect of stage presentation,the Anti-enemy drama team has made a lot of inventions and creations under the condition of being poverty-stricken.There are also many breakthroughs in lighting,setting and makeup.The conclusion part is a comprehensive evaluation of the Anti-enemy drama team.After a long period of exploration on the art of drama,the team has formed the "drama team mode" in the history of Chinese drama.This mode was inherited by the art troupe after 1949,which formed the "tradition of drama team" in the history of Chinese drama.Although there are many flaws in the play of the drama team,its contribution to Chinese drama cannot be ignored,and its experience and lessons are worth cherishing.