角色、身體與空間:晚清民初禁戲與戲劇觀演形態(tài)
發(fā)布時(shí)間：2018-07-18 08:46
【摘要】：在以男權(quán)為中心的晚清民初,禁戲政策語(yǔ)境下的戲劇觀演形態(tài),即角色扮演的性別意識(shí)、舞臺(tái)演出的組合形式及觀眾群體的構(gòu)成方式均發(fā)生嬗變。此種嬗變正是通過對(duì)以女性為主體的戲劇觀演空間進(jìn)行圈限,凸顯官方的權(quán)力意志與民眾約定俗成的戲劇審美要求之間,存在某種無(wú)法彌合的張力。男權(quán)社會(huì)對(duì)女性演員的性別歧視,使之無(wú)法擺脫既定空間權(quán)力的鉗制而喪失身份地位;商品經(jīng)濟(jì)下所形成的男女合演形態(tài),表面上是女性演員獲取空間權(quán)力與身體解放的表征,卻依舊體現(xiàn)其置于被男性窺視與操控的境地;女性觀眾群體的不斷壯大,顯示其主體意識(shí)的覺醒,卻未顛覆現(xiàn)存社會(huì)機(jī)制以改變既定的戲劇觀演關(guān)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.
【作者單位】： 深圳大學(xué)師范學(xué)院;
【基金】：國(guó)家社會(huì)科學(xué)重大項(xiàng)目“《全清戲曲》整理編纂及文獻(xiàn)研究”(11&ZD107);國(guó)家社會(huì)科學(xué)重大項(xiàng)目“近代戲曲文獻(xiàn)考索類編”(14ZDB079) 廣東省教育廳青年創(chuàng)新人才類項(xiàng)目“民國(guó)禁戲與演劇形態(tài)研究”(2015WQNCX131)
【分類號(hào)】：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.
【作者單位】： 深圳大學(xué)師范學(xué)院;
【基金】：國(guó)家社會(huì)科學(xué)重大項(xiàng)目“《全清戲曲》整理編纂及文獻(xiàn)研究”(11&ZD107);國(guó)家社會(huì)科學(xué)重大項(xiàng)目“近代戲曲文獻(xiàn)考索類編”(14ZDB079) 廣東省教育廳青年創(chuàng)新人才類項(xiàng)目“民國(guó)禁戲與演劇形態(tài)研究”(2015WQNCX131)
【分類號(hào)】：J809.2
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相關(guān)期刊論文 前3條
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【共引文獻(xiàn)】
相關(guān)期刊論文 前10條
1 柏奕e，
本文編號(hào)：2131374
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