摘要
在近代上海"文明"剧场的参照下,北京戏园数百年的形制特点、观演习俗被晚清一部分知识分子诟病为"野蛮",他们提出要对北京的传统戏园进行改良。民初政府接受了知识分子的改良主张,强制戏园向剧场转变,并每日派出警察到戏园弹压、稽查。然而就在貌似严密的监控下,1913—1919年间北京戏园却屡屡违章。分析"散戏逾时""任意加凳""站立闲人""有伤风化""谎报"四类违章现象的原因,可知戏园具体如何抵抗政府政策的执行。虽然戏园在与警察厅的博弈中取得了最终的胜利,但并不能就此认为民初的北京戏园就是"公共领域":因为戏园所采取的并非是一种公开的意见表达方式,而是一种无关"政治"的"抗争"。
In comparison with ＂civilized＂ theatres in bhanghai, Peking traditional opera nouses nao been criticized as ＂uncivilized＂ by the elites who welcomed reformation. Then in the early Republican, absorbing their advices, the government forced opera houses to be theatres, Even with the police＇s daily inspection, the implementation of the provisions was still hampered by the resistance from opera houses from 1913 to 1919, including four types. Though opera houses won the game between themselves and government, it doesn＇t mean ＂public sphere＂ has arisen, in other words, the resistance had nothing to do with the politics, since there is no public opinion in Peking opera houses.
出处
《学术月刊》
CSSCI
北大核心
2016年第2期155-168,共14页
Academic Monthly
关键词
民国
北京戏园
违章
非政治性
抗争
Republican era, Peking opera houses, violation, non-political, resistance
