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胡可是我国部队剧作家中具有代表性的人物之一。与许多其他部队剧作家一样,他从事戏剧创作,并不是出于艺术的吸引和个人的爱好,而是由于革命的需要。抗战爆发后一个月,胡可就参加了平西游击队,那年他才16岁。后来到晋察冀军区,经过短期军政训练,把他分到了抗敌剧社。虽然叫做剧社,实际上是军区的宣传队。他在宣传队主要是演戏,后来因为剧本来源紧缺,宣传任务又要求他们多演反映敌后根据地军民对敌斗争的戏,分配一些人去写戏,胡可就是其中之一,那是1940年的事情。他接受写戏正如当年接受演戏一样,都是由于斗争的需要。搞创作虽然是一项特殊的精神劳动,但对解放区、根据地特别是部队的作家来说,就是这样先服从组织分配,顺应革命需要,然后摸索探求艺术规律而成为真正的、有一些还是卓越的作家。正如胡可曾说过的那样:“为艺术而艺术是与我们绝缘的。”
Hu Ke is one of the representative figures in the theater playwright of our country. Like many other army theater writers, he did drama, not out of artistic attraction and personal hobby, but because of revolutionary needs. One month after the outbreak of the war, Hu Ke participated in the Pingxi guerrillas, when he was 16 years old. Later came to the Shanxi-Chahar-Hebei Military Region, after short-term military and political training, assigned him to the anti-enemy theater. Although called the drama club, it is actually a military propaganda team. His propaganda team is mainly acting, and later because of the scarcity of scripts, propaganda tasks and asked them to play more to reflect the enemy in the rear area of civil war against the enemy drama, assign some people to write the drama, Hu Ke is one of them, it is 1940 things . His acceptance of writing as the reception of acting in the same year was due to the need of the struggle. Although creative work is a special kind of spiritual work, for the liberated areas, the base areas and especially the army writers, this is the first to follow the organizational distribution, conform to the needs of the revolution, and then explore and explore the laws of art to become real and some are still excellent writer. As Hu Ke once said: “Art for art is insulated from us.”