清末民初京剧的宣传与伶人的明星化

发布时间：2018-03-20 18:29

本文选题：清末民初　切入点：京剧　出处：《华中师范大学》2012年硕士论文　论文类型：学位论文

【摘要】：在中国的传统文化意识里,伶人的社会地位及其低下。这一状况在数千年的漫长历史进程中都没有得到根本性扭转,直到清末民初伶人的社会地位才有了巨大的提升：从曾经的“下九流”一跃成为娱乐圈中闪耀夺目的明星。本文结合清末民初的花谱、竹枝词、报刊新闻、广告、剧评等史料以及大量的伶人传记,从“宣传”这一视角切入,对伶人明星化进程以及社会地位提升这一现象予以探讨。在绪论中,描述了当时京剧艺术在北方的活动中心—北京,以及在南方的活动中心—上海,针对这两个城市京剧艺术的发展状况和伶人社会地位的提升情况,从政治和商业的角度对当时的娱乐圈做出整体性概述。第一章仍就针对北京、上海这两个京剧活动的中心城市,从地域性上对京剧的运作情况予以区分描述。全章通过对清末民初戏园(院)、戏班及其二者关系的研究,再现当时南北戏园(院)与戏班的运作情况；通过对当时北京和上海市场、观众的研究,探寻京剧市场化进程的趋势。第二章以清末民初时期对于京剧和伶人不同的宣传方式为研究对象。分节探讨戏单与海报、竹枝词、花谱、报纸新闻、广告和剧评,以及民初文人或文人集体的“捧角儿”等各种宣传方式。所涉及到的所有宣传方式,基本以历史的发展进程为顺序(中间也有交叉并行)进行演进；而同一种宣传方式随着时间的流逝,形式和内容也都发生了变化。正是在以上各种演变中,推论伶人明星化进程以及社会地位提升这一论题。第三章以清末民初京剧和伶人的宣传主体为研究对象,探寻文人与伶人的关系,并将其概括为“寄情声色的游戏笔墨、暖昧幽微的天涯知己、友好往来的互惠合作、退居幕后的策划执导”四种不同的阶段。在这四种不同模式中,由伶人依附于文人逐渐向文人依附于伶人的方向转变,从中揭示伶人明星化及其社会地位提升的动因。
[Abstract]:In China's traditional cultural consciousness, the social status of actors and their inferiority have not been fundamentally reversed in the long history of thousands of years. It was not until the end of the Qing Dynasty and the beginning of the Republic of China that the social status of the actors was greatly improved: from the former "Lower Nine Stream" to the dazzling stars in the entertainment circle. This article combines the flower patterns of the late Qing Dynasty and the early Republic of China, the bamboo branch words, the newspaper news, and the advertisements. From the perspective of "propaganda", this paper probes into the process of actor's star and the promotion of social status from the perspective of "propaganda", which includes historical materials and a large number of biographies of actors. In the introduction, it describes the activity center of Beijing Opera art in the north at that time-Beijing, and the activity center in the south, Shanghai. In view of the development of Beijing opera art and the promotion of actors' social status in these two cities, From the political and commercial point of view of the entertainment industry at that time to make a holistic overview. The first chapter is still aimed at Beijing and Shanghai, which are the central cities of Beijing opera activities, to distinguish and describe the operation of Beijing opera from a regional point of view. The whole chapter makes a study of the opera gardens in the late Qing Dynasty and the beginning of the Republic of China, and the relationship between the two. By studying the market of Beijing and Shanghai at that time, the author explores the trend of the marketization of Beijing Opera. The second chapter focuses on the different propaganda methods of Beijing Opera and actors in the late Qing Dynasty and the early Republic of China. It discusses the play lists and posters, bamboo branch words, patterns, newspaper news, advertisements and drama reviews. As well as the early Republic of China literati or collective "acrobatic" and other propaganda methods. All the publicity methods involved, basically with the historical development process as the order (there is also a cross-parallel middle) evolution; However, with the passage of time, the form and content of the same propaganda have also changed. The third chapter takes the propaganda subject of Beijing Opera and actors in the late Qing Dynasty and the early Republic of China as the research object, explores the relationship between the literati and the actors, and generalizes it as "the game pen and ink of sending emotion and color, the warm and quiet horizon confidant, and the mutually beneficial cooperation of friendly exchanges." There are four different stages of planning and directing behind the scenes. In these four different models, the direction of the actors' dependence on the literati gradually changes to the literati's dependence on Yu Ling, which reveals the motivation of the actor's stardom and its social status promotion.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J821

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