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国民党的话剧政策是由悖谬的两端构成的 :一方面把话剧当做宣传工具 ,企图通过剧团监管、戏剧审查等措施 ,将其全部纳入党化或政治化的轨道 ;另一方面又将话剧视为纯粹的商业活动 ,课以重税。抗战后期 ,国家权力扩张 ,逐步侵蚀公共空间 ,话剧的生存天地愈形狭窄 ,生存条件不断恶化。事实证明 ,国民党非但没有建立起行之有效的艺术管理机制与合理的市场秩序 ,反而严重阻碍了话剧在战前即已开始了的市民化、正规化、现代化进程 :一方面使剧目向对立的两极发展 ,或者党国化 ,或者低俗化 ,文化品性严重扭曲 ;另一方面造成剧团经济困顿 ,经营失范 ,剧人生活窘迫 ,精神退化 ,演出水准降低。 1 94 3年以后 ,国民党话剧政策两歧性的恶果 ,便越来越多地暴露出来
The Kuomintang’s drama policy is made up of absurd ends: on the one hand, it uses drama as a propaganda tool in an attempt to incorporate it into the party’s or politicized tracks through the troupe supervision and drama review; on the other hand, For pure business activities, classes are heavily taxed. In the later period of the War of Resistance Against Japan, the expansion of state power gradually eroded the public space, and the survival of the drama became narrower and the living conditions deteriorated continuously. Facts have proved that not only did the Kuomintang not establish an effective mechanism for managing the arts and a reasonable market order, but seriously hindered the process of civicization, formalization and modernization that drama began before the war: on the one hand, On the other hand, it caused the troupe to suffer from economic difficulties, dysfunctional management, distress of the lives of the performers, mental retardation and a reduction in performance standards. After 94 years, the dualistic consequences of the Kuomintang’s drama policy have been exposed more and more