摘要
20世纪初出现的戏院新景观作为中国视觉现代性的重要表征之一,以过剩的视觉奇观和过剩的观看价值反映出视觉现代性所处的社会环境结构和内在心理动机。作为重要的社会活动空间和内容,戏院和戏剧吸引着新旧知识分子的凝视和参与,并成为他们实践文化复兴或者民族启蒙的教化高台。因此,关于此时戏剧活动的讨论需要从戏剧理念扩展到观看的外在视觉空间和观演的内在认同欲望,以观看欲望及此欲望的溢出式满足作为分析观戏活动的两个角度,才能更深入地探讨视觉现代性发生的内在动力。此时新戏院中的摩登梦境以及新戏剧观念下的传统国粹两大奇观,正是在此意义上分别呈现了观众在走进戏院时所持的心理期待和在欣赏戏剧表演时所获得的文化价值。与此同时,这些分析也从视觉文化的角度为精英知识分子对话剧活动的积极推进和早期话剧运动的失利提供了一定的外在参照。
The most important developments in the early 20th century of China should not only in clude the rupture by the political events, the wave of the new thoughts, but also the emergence of new aesthetic structure, which has been generated along with the new condition of sensory experience. Apart from the research of literature and journal in these first decades, the investigation of re formed drama also provides the new phenomena in the aesthetic domain. Much critical and historical analysis of Chinese drama in the beginning of 20th century has been based on the idea that the dra ma reformation carries an enlightenment movement led by the intellectuals and taken upon the tra ditional society. But to comprehend the audience's response to the new drama, especially the rise and fall of the spoken drama in these decades, many questions would have to be posed and answered.This essay is an attempt to sketch some outlines of the structure of vision and its political value of viewing in the new theatre and towards new stage performance. Through this investigation, it is aimed to elaborate the double dynamics in the visual modernization of China: the desire of nov elty and the value of national image.
作者
李科林
LI Kelin(School of Philosophy, Renmin University of China, Beijing 100872)
出处
《中国人民大学学报》
CSSCI
北大核心
2019年第4期142-149,共8页
Journal of Renmin University of China
基金
中国人民大学2018年度“中央高校建设世界一流大学(学科)和特色发展引导专项资金”
关键词
新戏院
新京剧
视觉现代性
民族启蒙
new theatre
new drama
visual modernization
national enlightenment
