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进入1949年后,许多未经历过延安整风和《讲话》洗礼的国统区文艺家们,都在观望和试探,特别是在上海引发的“可不可以写小资产阶级”的论争后,更有些人显得无所适从,然而被养起来吃闲饭或消极怠工,又是文化人所不愿意的。于是,如何寻求艺术发展的切入点和安全性等问题,成为了一个很迫切的问题。哪里是适合切入而又相对安全的地方呢?文艺家们都在苦苦寻觅。1950年元旦刚过,剧作家柯灵、导演黄佐临拜访茅盾,并提出要改编《腐蚀》的要求,茅盾欣然同意。随后,由香港文华公司
After 1949, many writers and artists of the Nationalist Central Government that have not experienced the baptism of Yan’an rectification and “speech” are watching and tempting, especially after the controversy over “petty petty bourgeoisie” triggered by Shanghai People seem to be at a loss, however, but being kept for leisure or passive sabotage is something culturally unwilling to do. Therefore, how to find out the starting point and safety of art development has become a pressing issue. Where is the right place to cut in but relatively safe? The artists are hard at searching. Just after New Year’s Day in 1950, playwright Ke Ling and director Huang Zhaolin paid a visit to Mao Dun and proposed to reorganize the “corrosion” requirement. Mao Dun readily agreed. Subsequently, by the Hong Kong Mandarin Company