角色、身体与空间:晚清民初禁戏与戏剧观演形态
发布时间：2018-07-18 08:46
【摘要】：在以男权为中心的晚清民初,禁戏政策语境下的戏剧观演形态,即角色扮演的性别意识、舞台演出的组合形式及观众群体的构成方式均发生嬗变。此种嬗变正是通过对以女性为主体的戏剧观演空间进行圈限,凸显官方的权力意志与民众约定俗成的戏剧审美要求之间,存在某种无法弥合的张力。男权社会对女性演员的性别歧视,使之无法摆脱既定空间权力的钳制而丧失身份地位;商品经济下所形成的男女合演形态,表面上是女性演员获取空间权力与身体解放的表征,却依旧体现其置于被男性窥视与操控的境地;女性观众群体的不断壮大,显示其主体意识的觉醒,却未颠覆现存社会机制以改变既定的戏剧观演关系。
[Abstract]:In the late Qing Dynasty and the early Republic of China with male power as the center, the forms of theatrical performance in the context of prohibited drama policy, namely the gender consciousness of role-playing, the combination form of stage performances and the composition of audience groups, all changed. This kind of transmutation is just through carrying on the circle limit to the drama view space which takes the female as the main body, highlights the official power will and the populace established drama esthetic request, there is some kind of unbridgeable tension. The sexism of the male society towards female actors makes it unable to get rid of the constraints of the established space power and lose its status. The form of male and female co-acting formed under the commodity economy is on the surface a symbol of female actors' acquisition of space power and physical emancipation. However, it is still reflected in the situation of being peeped and manipulated by men. The constant growth of female audience group shows the awakening of its subjective consciousness, but it does not subvert the existing social mechanism in order to change the established theatrical relationship.
【作者单位】： 深圳大学师范学院;
【基金】：国家社会科学重大项目“《全清戏曲》整理编纂及文献研究”(11&ZD107);国家社会科学重大项目“近代戏曲文献考索类编”(14ZDB079) 广东省教育厅青年创新人才类项目“民国禁戏与演剧形态研究”(2015WQNCX131)
【分类号】：J809.2
[Abstract]:In the late Qing Dynasty and the early Republic of China with male power as the center, the forms of theatrical performance in the context of prohibited drama policy, namely the gender consciousness of role-playing, the combination form of stage performances and the composition of audience groups, all changed. This kind of transmutation is just through carrying on the circle limit to the drama view space which takes the female as the main body, highlights the official power will and the populace established drama esthetic request, there is some kind of unbridgeable tension. The sexism of the male society towards female actors makes it unable to get rid of the constraints of the established space power and lose its status. The form of male and female co-acting formed under the commodity economy is on the surface a symbol of female actors' acquisition of space power and physical emancipation. However, it is still reflected in the situation of being peeped and manipulated by men. The constant growth of female audience group shows the awakening of its subjective consciousness, but it does not subvert the existing social mechanism in order to change the established theatrical relationship.
【作者单位】： 深圳大学师范学院;
【基金】：国家社会科学重大项目“《全清戏曲》整理编纂及文献研究”(11&ZD107);国家社会科学重大项目“近代戏曲文献考索类编”(14ZDB079) 广东省教育厅青年创新人才类项目“民国禁戏与演剧形态研究”(2015WQNCX131)
【分类号】：J809.2
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【共引文献】
相关期刊论文 前10条
1 柏奕e，
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