本文選題：清末民初　切入點：京劇　出處：《華中師范大學》2012年碩士論文　論文類型：學位論文

【摘要】：在中國的傳統(tǒng)文化意識里,伶人的社會地位及其低下。這一狀況在數(shù)千年的漫長歷史進程中都沒有得到根本性扭轉,直到清末民初伶人的社會地位才有了巨大的提升：從曾經(jīng)的“下九流”一躍成為娛樂圈中閃耀奪目的明星。本文結合清末民初的花譜、竹枝詞、報刊新聞、廣告、劇評等史料以及大量的伶人傳記,從“宣傳”這一視角切入,對伶人明星化進程以及社會地位提升這一現(xiàn)象予以探討。 在緒論中,描述了當時京劇藝術在北方的活動中心—北京,以及在南方的活動中心—上海,針對這兩個城市京劇藝術的發(fā)展狀況和伶人社會地位的提升情況,從政治和商業(yè)的角度對當時的娛樂圈做出整體性概述。 第一章仍就針對北京、上海這兩個京劇活動的中心城市,從地域性上對京劇的運作情況予以區(qū)分描述。全章通過對清末民初戲園(院)、戲班及其二者關系的研究,再現(xiàn)當時南北戲園(院)與戲班的運作情況；通過對當時北京和上海市場、觀眾的研究,探尋京劇市場化進程的趨勢。 第二章以清末民初時期對于京劇和伶人不同的宣傳方式為研究對象。分節(jié)探討戲單與海報、竹枝詞、花譜、報紙新聞、廣告和劇評,以及民初文人或文人集體的“捧角兒”等各種宣傳方式。所涉及到的所有宣傳方式,基本以歷史的發(fā)展進程為順序(中間也有交叉并行)進行演進；而同一種宣傳方式隨著時間的流逝,形式和內容也都發(fā)生了變化。正是在以上各種演變中,推論伶人明星化進程以及社會地位提升這一論題。 第三章以清末民初京劇和伶人的宣傳主體為研究對象,探尋文人與伶人的關系,并將其概括為“寄情聲色的游戲筆墨、暖昧幽微的天涯知己、友好往來的互惠合作、退居幕后的策劃執(zhí)導”四種不同的階段。在這四種不同模式中,由伶人依附于文人逐漸向文人依附于伶人的方向轉變,從中揭示伶人明星化及其社會地位提升的動因。
[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.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J821

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本文編號：1640290