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本文通过具体分析李健吾在上海沦陷时期的改编剧《金小玉》,探讨作者在沦陷区特殊环境下对原作进行的某些去政治化处理、该剧的商业化追求以及剧作内在的政治寓意,并由此考察沦陷区话剧政治和商业之间复杂的铰接关系:看似是去政治化的营业追求,可能是进行更有效政治呼唤的某种支点,而商业化话剧本身又把政治当作一种可资利用的资源,以具有政治意义的宣泄召唤着更多的观众。
By analyzing Li Jinwu's adaptation of Jin Xiaoyu during the period of Shanghai's fall, this paper explores some of the de-politicization of the original work under the special circumstances of the enemy-occupied areas, the commercial pursuit of the play and the political implication of the play , And thus examining the complex articulation between politics and commerce in the Occupied Area Drama: seemingly de-politicized business pursuit may be some sort of fulcrum for a more effective political call, and the commercial drama itself treats politics as An available resource that calls for more viewers with a political catharsis.