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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。
In the late Qing Dynasty and the early Republic of China with patriarchal as the center, the dramatic forms of performance under the prohibition policy context, that is, the gender awareness of role play, the combination of stage performances and the composition of audience groups, all evolved. This kind of transmutation is precisely through the circle of the female-oriented theater performance space, highlighting the inevitable tension between the official power of the will and the general public aesthetic aesthetic requirements. Patriarchal society’s gender discrimination of female actors, so that they can not get rid of the restraint of the established space power and loss of status; men and women formed under the commodity economy co-morbid state of appearance is the female actors to obtain space power and the liberation of the characterization, but still Reflecting its position of being peeped and manipulated by men. The continuous growth of female audience groups shows the awakening of their subjective consciousness without subverting the existing social mechanisms to change the established relationship of theatrical performances.