城市、戏曲与性别：近代京津地区女伶群体研究（1900-1937）

发布时间：2018-06-16 01:48

本文选题：近代 + 京津地区　；参考：《南开大学》2012年博士论文

【摘要】：近代女伶群体是一个特殊的社会群体。一方面，女伶属于职业女性的范畴；另一方面她们又不同于普通的职业女性。由于早期女伶中有许多兼操妓业，加之从事戏曲行业往往为人轻视，因此女伶的社会声誉不高。1912年，自俞振庭将女伶引入北京始，各剧种的女伶群体在近代开始逐渐登上舞台。由于京津地区具有历史悠久的戏曲传统，因而，，近代女伶群体率先在该地的出现具有先天优势。在近代京津地区社会经济结构转变的过程中，公共娱乐空间的扩展、新兴娱乐方式的出现以及舆论媒体环境的充分发展更为女伶群体的出现创造了良好的生存环境。因此，京津地区的女伶群体兼具有新旧两种职业女性的特点。近代京津地区先后活跃着三个主要剧种的女伶群体。分别是河北梆子、京剧与评剧女伶。经过艰苦的学艺和演出，女伶们运用自身的性别优势及丰富的舞台经验，推动各剧种的发展进步。大部份女伶来自贫苦或家道中落的环境，不同层次的女伶群体日常生活各有不同，感情婚姻也境况各异。然而，她们通过积极参与各种社交活动和公益演出，企图提升自身的社会地位。女伶在戏曲中的性别跨界表演，可说是在男性形塑下的产物。目的各异，方式不同的各种捧角现象不仅造就了女伶的“明星化”，也推动了城市大众娱乐文化的发展。部分女伶表演的形式及内容，也容易使观众将女伶与淫戏混为一谈。从微观的角度来看，奎德社是民国时期京津地区影响最大的坤班社。奎德社虽然是由女伶作为主力组成，然而其发展沿革、内部的分工管理以及其上演剧目等均是在男性的领导、支持或帮助下完成。该社所演的时装新戏曾风靡一时，充分发挥了戏曲的社会教化功能。本研究着眼于探讨女伶群体与戏曲及城市发展之间的关系。首先，近代女伶发挥了自身的主观能动性，进而推动戏曲艺术的发展。其次，近代女伶群体的崛起反映了京津地区经济及城市文化的发展。通过分析女伶群体形成及发展过程中，公共空间、舆论媒体等影响因素，把握社会变迁的历史复杂性，有助于进一步发掘城市大众文化的现实意义。而女伶群体的公共演出与日常生活，既是城市文化的体现，又是推动城市化进程的动力。第三，女伶的社会形态仍具有传统社会的色彩。第四，在性别研究的意义层面上，通过观戏者、捧角家、编剧人等不同的表现，体现当时社会对女伶的形塑，展现女伶自身的人生轨迹，以及女伶群体对自身形象的再塑。透过京津地区社会性别关系演变的观察，可以见到近代性别的传统权力结构在都市社会中的时代变化。总而言之，在社会转型及朝现代化迈向之际，女伶群体随之形成、发展及壮大。这一群体所呈现出的社会形态虽然仍然具有传统社会的色彩，但她们也做出了向现代迈步的各种努力。
[Abstract]:The modern group of actresses is a special social group. On the one hand, actresses belong to the category of professional women; on the other hand, they are different from ordinary professional women. Due to the fact that many of the early actresses were engaged in prostitution and were often despised in the opera industry, the social reputation of the actresses was not high. In 1912, since Yu Zhenting introduced the actresses to Beijing, the group of actresses of all kinds began to appear on the stage gradually in modern times. Because Beijing and Tianjin have a long history of opera tradition, the emergence of the modern group of actresses in this area has a congenital advantage. In the process of social and economic structure transformation in modern Beijing-Tianjin area, the expansion of public entertainment space, the emergence of new entertainment mode and the full development of media environment of public opinion have created a good living environment for women actors. Therefore, there are two kinds of professional women in Beijing and Tianjin. In modern times, there are three groups of actresses active in Beijing and Tianjin. Hebei Bangzi, Peking Opera and commentary opera actress. Through hard study and performance, actresses use their own gender advantages and rich stage experience to promote the development and progress of all kinds of plays. Most of the actresses come from poor or family environment, different levels of groups of actresses have different daily life, emotional marriage conditions are also different. However, they try to improve their social status by actively participating in various social activities and public service performances. The cross-sexual performance of the actress in the opera can be said to be the product of the male shape. Different aim and different ways not only bring up the actress's "star", but also promote the development of urban mass entertainment culture. The form and content of some actresses also make it easy for the audience to confuse the actress and the harlot. From the micro point of view, the Kuide Society was the most influential one in Beijing and Tianjin during the period of the Republic of China. Although the Quaid Society is composed of actresses, its development, internal division of labor management and its repertoire are all completed under the leadership, support or help of men. The new fashion drama performed by the society was all the rage and brought into full play the social enlightenment function of the opera. This study focuses on the relationship between the group of actresses, opera and urban development. First of all, modern actresses play their own subjective role, and then promote the development of opera art. Secondly, the rise of modern actresses reflects the development of economy and urban culture in Beijing and Tianjin. By analyzing the influence factors such as public space, media of public opinion and so on, in the process of formation and development of the group of actresses, we can grasp the historical complexity of social changes and help to further explore the practical significance of urban mass culture. The public performance and daily life of the group of actresses are not only the embodiment of urban culture, but also the motive force to promote the process of urbanization. Third, the social form of actress still has the color of traditional society. Fourthly, on the meaning level of gender research, through the different performances of opera watchers, performers, screenwriters, etc., it reflects the social shaping of the actresses at that time, showing the life track of the actresses themselves, and the remolding of their image by the group of actresses. By observing the evolution of gender relations in Beijing and Tianjin, we can see the change of modern gender traditional power structure in urban society. In a word, as the society changes and moves towards modernization, the group of actresses forms, develops and grows. Although the social form presented by this group still has the color of traditional society, they also make all kinds of efforts to move towards the modern.
【学位授予单位】：南开大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：C913.68;K25

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