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对于20世纪50年代戏曲艺术整改的研究,应从国家政策与书目、艺人相互作用的层面进行双向性逻辑的探讨。本文以兼具灵活性、市场性的评弹艺术为研究对象,以传统书目《白蛇传》为个案进行考察,来展示一部传统书目在革命改造和现实需求之间的艰难生存状况。这一状况,既是国家政策在传统书目的说唱内容和表现形式上的深刻烙印,也是评弹艺人为了生存糊口而适应新形势发展的艰难抉择。这种抉择是艺人徘徊在政治意识形态与市场销售需求之间的自我更新,并在50年代仍然存在着一定的发挥余地。随着“反右”运动的开展,及“文革”时期的到来,这种抉择的空间逐步缩小,而以评弹为代表的戏曲艺术也就逐渐沦为宣传教化民众、统一社会思想、巩固新生政权的舆论工具。
For the study of the rectification of Chinese opera art in the 1950s, two-way logic should be explored from the aspect of the interaction between national policies and bibliographies and entertainers. Taking the art of Pingtan which is both flexible and market-oriented, this article examines the traditional bibliography “The Legend of the White Snake” as an example to demonstrate the difficult survival of a traditional bibliography between revolution and reality. This situation is not only the deep imprint of national policies on the content and expression of rap in the traditional bibliography, but also the tough decision of the bartender to adapt to the new situation and development in order to survive. This choice is that artists are hovering between self-renewal of political ideology and market demand, and there is still some room for development in the 1950s. With the advent of “Anti-Rightist Movement” and the arrival of “Cultural Revolution”, the space for this choice has been gradually narrowed. However, the drama art represented by Pingtan has also gradually become the propaganda and popularization of people and the unification of social thoughts , Consolidate the nascent government media tools.