民国时期是中国历史上充满变动又蕴藏生机的时期，社会物质生活以及文化风貌皆发生着巨大的转变。苏州评弹的艺术中心在这一时期由苏州转移到上海，广播电台的介入推动着其成为都市社会中举足轻重的大众文化，与此同时苏州评弹的艺术形态也实现着现代化的转变，在演出空间、艺人、书目、听众等方面呈现出与以往截然不同的面貌。

本文借鉴列斐伏尔空间生产三元一体理论框架，从公共空间的建构来看待广播电台与苏州评弹的关系，运用了历史分析、新社会文化史研究和文本分析等多种方法，着力要解决的问题是，经由广播电台介入的现代评弹如何参与都市公共空间的建构，其公共空间动力机制是什么。

首先，演出空间作为苏州评弹的主要日常形态在广播电台的介入下得到扩张，演出空间的扩张使得评弹更加深入到都市生活，而这成为其参与公共空间建构的基础。其次，现代评弹形态体现于艺人、书目、听众等符号要素的转变，这些要素的互动关系促进了评弹艺术公共空间的建构。再次，现代评弹公共空间建构是在娱乐、商业、抗日救亡等话语下通过多种方式达成的。最后，现代评弹公共空间的存在及运行受到行会组织、政府力量、文化氛围、技术设施等多方力量的影响。

具体而言，现代评弹艺术公共空间的建构是通过多种方式达成的：娱乐话语下，现代评弹成为都市生活中的大众娱乐活动，其作为公共消费品的属性得到强化；商业话语下，现代评弹既通过广告加强了和市民的联系，同时其开篇文本对摩登的具象化呈现及批判体现出评弹艺术对现代性及其问题的表达及反思。抗日救亡话语下，现代评弹以公共利益为诉求，通过广播媒介、开篇文本、评弹艺人等进行了公共参与。

此外，现代评弹艺术参与都市公共空间的建构受到多方外部力量的影响，主要来自于行会组织、政府力量、文化氛围、技术设施等，这些因素施加于评弹的作用力以及评弹自身的反作用力共同构成了现代评弹公共空间的外部动力机制。

The period of the Republic of China was a period full of changes and vitality in Chinese history, and great changes took place in social material life and cultural style. During this period, the art center of Suzhou Pingtan was transferred from Suzhou to Shanghai. The intervention of radio stations promoted it to become a pivotal mass culture in urban society. At the same time, the art form of Suzhou Pingtan was also undergoing a modern transformation. Artists, bibliographies, audiences, etc. present a completely different look from the past.

This article draws on Lefebvre’s three-in-one theory of space production, looks at the relationship between radio stations and Suzhou Pingtan from the construction of public space, and uses a variety of methods such as historical analysis, new social cultural history research, and text analysis to address the issue. The question is, how does the modern Pingtan involved in the radio station participate in the construction of urban public space, and what is the dynamic mechanism of its public space.

First of all, the performance space, as the main daily form of Suzhou Pingtan, has been expanded with the intervention of radio stations. The expansion of the performance space allows Pingtan to penetrate more deeply into urban life, and this has become the basis for its participation in the construction of public space. Second, the modern form of Pingtan is embodied in the transformation of symbol elements such as artists, bibliographies, audiences, etc. The interaction of these elements promotes the construction of the public space of Pingtan art. Thirdly, the construction of modern Pingtan public space is achieved through various methods under the discourse of entertainment, commerce, and anti-Japanese national salvation. Finally, the existence and operation of the modern Pingtan public space is affected by various forces such as guild organizations, government forces, cultural atmosphere, and technical facilities.

Specifically, the construction of the public space of modern Pingtan art is achieved through a variety of methods: under the discourse of entertainment, modern Pingtan has become a mass entertainment activity in urban life, and its attributes as a public consumer product have been strengthened; under the discourse of business, modern Pingtan has both Through the advertisement, the connection with the citizens is strengthened. At the same time, the concrete presentation and criticism of modernity in the opening text reflects the expression and reflection of modernity and its problems in the art of Pingtan. Under the discourse of anti-Japanese and national salvation, modern Pingtan took public interest as its appeal, and conducted public participation through broadcast media, opening texts, and Pingtan artists.

In addition, the participation of modern Pingtan art in the construction of urban public space is affected by many external forces, mainly from guild organizations, government forces, cultural atmosphere, technical facilities, etc. These factors exert the force of Pingtan and the reaction of Pingtan itself. It constitutes the dynamic mechanism of modern Pingtan public space.