男旦现实困境的必然性探析
摘要
男旦是戏曲表演行式之一,在中国古典演剧史上曾是个重要的存在和主流构成,但在当代男旦则陷入了较深的生存困境。之所以如此,是因为男旦本身产生于不平等的社会观念和社会制度之中,在历史发展过程中始终伴随狎优等负面现象和争议。另一方面,男旦的美学属性也和现代社会的价值体系、美学追求、生存模式格格不入。因此,男旦的衰落有着历史必然性。
The Male Dan was a traditional Chinese art that suffered great difficulties to survive in the contemporary times. Because the Male Dan was born in a unequal social system in the history, and it has always been accompanied by controversy and negative phenomena. Meanwhile, the Male Dan was also different from the aesthetic properties of male and value system of modern society. Therefore, the decline of Male Dan was confronted with a historical inevitability which was difficult to change just by virtue of artificial measures.
The Male Dan was a traditional Chinese art that suffered great difficulties to survive in the contemporary times. Because the Male Dan was born in a unequal social system in the history, and it has always been accompanied by controversy and negative phenomena. Meanwhile, the Male Dan was also different from the aesthetic properties of male and value system of modern society. Therefore, the decline of Male Dan was confronted with a historical inevitability which was difficult to change just by virtue of artificial measures.
引文
[1]崔令钦.教坊记[M].明古今逸史本:8.
[2]俞为民、孙蓉蓉.历代曲话汇编·明代编第一集[Z].南京:凤凰出版社,2008:217.
[3]王利器.元明清三代禁毁小说戏曲史料[Z].上海:上海古籍出版社,1981:171.
[4]李慈铭.越缦堂菊话,清代燕都梨园史料[Z].北京:中国戏剧出版社,1988:706.
[5]齐如山.齐如山回忆录[D].北京:中国戏剧出版社,1998:109-110.
[6]翁思再.京剧丛谈百年录(下)[M].石家庄:河北教育出版社,1999:244.
[7]艺兰生.侧帽余谈,清代燕都梨园史料[Z].北京:中国戏剧出版社,1988:624.
[8]鲁迅.坟[M].北京:人民文学出版社,1956:141.
[2]俞为民、孙蓉蓉.历代曲话汇编·明代编第一集[Z].南京:凤凰出版社,2008:217.
[3]王利器.元明清三代禁毁小说戏曲史料[Z].上海:上海古籍出版社,1981:171.
[4]李慈铭.越缦堂菊话,清代燕都梨园史料[Z].北京:中国戏剧出版社,1988:706.
[5]齐如山.齐如山回忆录[D].北京:中国戏剧出版社,1998:109-110.
[6]翁思再.京剧丛谈百年录(下)[M].石家庄:河北教育出版社,1999:244.
[7]艺兰生.侧帽余谈,清代燕都梨园史料[Z].北京:中国戏剧出版社,1988:624.
[8]鲁迅.坟[M].北京:人民文学出版社,1956:141.