【摘要】 伪满时期哈尔滨戏曲演出活动比较频繁,日伪当局控制和利用戏曲以施行文化殖民统治,戏曲观众观赏和消费戏曲以达到聆听乡音的满足。然而演出兴盛的表象背后则是戏曲艺术的停滞和衰退,剧种、剧目、艺人队伍发展失衡。这既有伪满当局殖民统治的直接影响,同时也反映了哈尔滨地方戏曲生态的剧变。通过对伪满时期哈尔滨戏曲活动和戏曲生态的考察,有助于探究殖民语境下戏曲艺术风格演变的原因,深刻认识特殊政治环境下民族艺术的价值和意义。更多还原

【Abstract】 During the period of Puppet Manchukuo, opera performances were quite frequent in Harbin, as opera was controlled and used by the Japanese Puppet authority to implement cultural colonial rule and folks felt satisfied when they listened to the sounds of home through watching and enjoying opera. However, behind the superficial prosperity, there was such a fact that opera arts mired in stagnation and recession, and the developments of opera types, opera productions and artist teams were unbalanced. The reasons are not only the direct influence of the colonial rule of the Japanese Puppet authority, but also the dramatic changes in the local opera ecology in Harbin. Through the investigation of the opera activities and the opera ecology in Harbin during the period of Puppet Manchukuo, it is helpful to explore the trend of national culture in the colonial language environment, and to deeply understand the value and significance of national art in the special political environment.更多还原