Core Viewpoint - The article emphasizes the significant role of theater and art in uniting the Chinese people during the Anti-Japanese War, showcasing how various performances inspired collective action and national consciousness [5][8][12]. Group 1: Historical Context - The Anti-Japanese War prompted a surge in theatrical productions, with street plays and operas becoming vital tools for mobilizing public sentiment against invaders [6][7]. - Notable works like "The White-Haired Girl" and "Defending Lugou Bridge" resonated deeply with audiences, reflecting the struggles and aspirations of the people during wartime [6][9]. Group 2: The Role of Art and Theater - Theater served as a battlefield, with performances acting as weapons to inspire and galvanize the masses, fostering a sense of unity and shared purpose [13][14]. - The creative output from institutions like the Lu Xun Academy of Arts (鲁艺) was characterized by a focus on real-life experiences, capturing the essence of the people's struggles and triumphs [11][12]. Group 3: Impact on Society - The emotional connection established through performances led to increased participation in the war effort, with audiences feeling compelled to act in solidarity with the characters portrayed on stage [13][14]. - The portrayal of ordinary individuals as heroes in plays helped to elevate the collective spirit, encouraging a sense of agency among the populace [12][15]. Group 4: Legacy and Reflection - The legacy of wartime theater continues to resonate, with modern adaptations and performances honoring the spirit of resistance and the sacrifices made during the Anti-Japanese War [16][18]. - The article underscores the importance of remembering and celebrating these artistic contributions as a means of preserving national identity and collective memory [16][19].

Group 1 - The article highlights the cultural exchange between Hubei and Bortala, showcasing the integration of Huangmei Opera with local elements from Xinjiang, such as the horsehead fiddle and Dombura [2][3][5] - Bortala's artists, like Bader Qiqike, have embraced Huangmei Opera through cultural exchange initiatives, leading to a growing appreciation of this art form in Xinjiang [2][5] - The collaboration has resulted in over 50 cultural performances since 2021, enriching the cultural lives of both regions and fostering ethnic unity [5] Group 2 - The upcoming premiere of the dance poetry drama "Love at Sailimu Lake" in July 2024 marks a significant milestone in the cultural integration efforts between Hubei and Bortala [3] - Bortala's song and dance troupe has actively participated in cultural exchanges, performing in Hubei and showcasing their unique cultural heritage [3][5] - The ongoing cultural interactions are seen as a means to promote the transmission and development of traditional Chinese culture across both regions [5]

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 ...