近年来，湖北充分发挥自身文化资源优势，将黄梅戏等文化瑰宝带到对口支援的博州。巴登其其克正是在湖北艺术家赴博州开展文化交流活动 时，近距离接触到黄梅戏，喜欢并学习黄梅戏。 如今在博州，经常能看到她表演黄梅戏的身影。在传承黄梅戏经典的同时，她和搭档们在表演中还巧妙融入马头琴、冬不拉等特色元素，让黄 梅戏在新疆"圈粉"，被更多民众所熟知。 "黄梅戏的唱腔温婉细腻，理解了其中方言的意思后再学唱，感觉更喜欢了。"巴登其其克说，"在不同文化的交流过程中，我们就像是一家 人。" 你来我往的文化走亲，让两地的心贴得更近。 赛里木湖的蓝，清澈而纯净。当荆楚大地的黄梅调遇上草原的马头琴，当长江的涛声应和着赛里木湖的涟漪，两种跨越3000多公里的文化，在 这片高山湖泊边折射出绚丽多彩的光芒。 "正哪月十啊五，闹哇元宵呀呀子哟……"这是黄梅戏《夫妻观灯》的经典唱词。这一次，表演者并非黄梅戏专业演员，而是来自新疆的蒙古族 姑娘巴登其其克。 近日，在新疆博尔塔拉蒙古自治州歌舞团非遗展厅，声乐演员巴登其其克和搭档精彩演绎了一段经典黄梅戏。女演员身姿轻盈，眉眼含笑，男 演员配合默契，一招一式皆有模有样，他们生动的表演让观众感受到黄梅戏的独特 ...

Core Viewpoint - The article emphasizes the significance of anti-Japanese war-themed dramas in inspiring the public and reflecting on human conscience during the challenging times of the war, highlighting the ongoing trend of creating impactful theatrical works that resonate with contemporary audiences [7][11]. Group 1: Historical Context and Impact - The establishment of the Chinese National Drama Anti-Enemy Association marked a pivotal moment for theatrical arts, as it called for a transformation of stage performances to reflect the national struggle and resilience during the anti-Japanese war [7]. - Renowned playwrights and artists from across the country gathered in the Sichuan-Chongqing region, contributing to a vibrant theatrical scene that served as a platform for expressing patriotic sentiments and rallying public support [8][9]. Group 2: Notable Works and Contributions - "The Qu Yuan," written by Guo Moruo, premiered in 1942 and was celebrated for its powerful narrative and emotional depth, with 22 performances held over 17 days, all of which were sold out [8][10]. - "Metamorphosis," created by Cao Yu during the war, depicted the transformation of a hospital under new leadership, symbolizing the broader changes occurring in the nation during the anti-Japanese struggle [9][10]. Group 3: Contemporary Productions - The musical "I Am the Sichuan Army," which premiered in 2017, has been performed over 80 times, resonating deeply with audiences due to its emotional storytelling and portrayal of the sacrifices made by Sichuan soldiers during the war [12]. - "Iron Blood Westward Migration," a play focusing on the historical event of the evacuation from Yichang, showcases the efforts of patriotic industrialists and the sacrifices of local people, emphasizing the collective struggle during the war [13][14].

话剧《屈原》（一九四二年）定妆照。 图为话剧《一年间》（1939年）剧照。 图片为王羿提供 1934年初夏，黄浦江码头，工人们正艰难搬运货箱——他们不知道的是，箱子里满载着日本侵略者的军 火。 目睹这一幕的聂耳如鲠在喉，很快与田汉合作新歌剧《扬子江暴风雨》，其中的《卖报歌》传唱至今。 1937年四行仓库保卫战，崔嵬、王震之等人提笔写就《八百壮士》剧本，歌颂中国军人的不屈精神。 1938年台儿庄大捷，锡金、罗荪等人在欢庆游行队伍中开始酝酿《台儿庄》的创作。1941年皖南事变， 阿英的《洪宣娇》，欧阳予倩的《忠王李秀成》，郭沫若的《屈原》接踵而至，以历史的隐喻拨动"坚 持团结，反对分裂"的时代呼唤。 抗战戏剧诞生于民族危亡之际，其对现实之敏锐，超过以往。运笔为矛、鼓舞民志，要迅速反映现实， 意味着剧作者需与时间赛跑。1937年7月，21名剧作者仅用5天就完成了《保卫芦沟桥》定稿，当日付 梓，首印1万册，全国发行；他们自愿放弃著作权，只为让这出戏演遍全国。如今翻开这份已泛黄皱卷 的剧本，我们仍能看到当时的排版工人以突出的黑体字印出的一行行激荡人心的口号，饱蘸民族的怒 吼。1938年9月，夏衍落下《一年间》的最后一个 ...