【作者】 王萍；

【导师】 贾志刚；

【作者基本信息】 中国艺术研究院 ， 戏剧戏曲学， 2009， 博士

【摘要】 社会心理反映一定时期社会审美风尚及其人们审美趣味的变迁和审美理想的追求。十八世纪末、十九世纪初,京师舞台以程长庚为代表的“前三杰”和以谭鑫培为代表的“后三杰”京剧老生流派次第崛起并且独领风骚,由此开创了京剧史上以老生行为代表的沉郁刚健风格流派和感伤美风格流派。两种不同风格表演流派的演进不仅反映了社会审美风尚的变化,而且表征了京剧老生流派与近代鼎革历史语境下的社会心理变迁的一种直接联系。鸦片战争,西方的坚船利炮打开了国门,但是,其冲击力并没有使中国传统的社会政治经济结构崩溃,受“天朝中心”偏狭认知的影响,整个社会沉浸在“华夷大防”的理念中不能自拔,农耕文明固有的“英雄救世”、“忠君报国”等观念,成为这一时期主要的社会心理诉求。在这种历史大背景下,以程长庚为代表的“前三杰”适时地回应了时代、社会的诉求,他们以历史大戏为载体,在京师舞台塑造了一批举止凝重、刚健硬朗的老生行艺术形象,“黄钟大吕”的唱腔旋律开启京剧老生流派沉郁刚健艺术风格之流派。甲午战争后,连续的战争赔款议和在充分暴露统治者软弱无能的同时,对民族自信心也给予沉重的打击,失望、感伤和怨愤的社会情感四处弥漫。国人开始理性的思考这场具有“前全球化”意义的战争。从艺术思潮看,这一时期产生了质疑封建政治文化制度的谴责小说、反映晚清军事指挥官畏惧逃跑的战争小说;出现了表现对清政府失望、对现实愤懑的诗歌,以及反映战争带给人们苦难的词曲杂剧等等。诸如此类的艺术作品无不折射出“英雄不再”的时代感伤。京剧第二代老生流派代表谭鑫培,以其苍凉感伤的音乐旋律、“英雄失意”剧目及其戏剧符号等审美选择和艺术创作,在构筑感伤美艺术风格主体的同时,它带着时代感伤、怨愤的烙印,与历史文化语境下的诗歌、小说、戏曲等一起体现了一个时代民众的生存状态和文化心理走向。而民族文化心理深层结构中对铁肩担道义的士人形象、文质彬彬的君子人格的审美理想和审美价值的崇尚,无疑使京剧老生流派的崛起具有丰富的文化底蕴和社会心理的历史积淀。近代社会心理变迁对京剧流派的影响是深刻而全面的。换言之,社会心理不但影响了京剧行当、流派的兴起及其演变,也影响了流派在剧本、音乐甚至化装等方面创作风格的形成,同时对于观众的审美接受心理、传播心理也产生着极大的影响。更多还原

【Abstract】 Social psychology reflects the aesthetic fashion, change and ideals. Early 19th century, the fore three standouts represented by Chen Changgeng and late Tan Xinpei of the old male role rising one after another creating two different genres of the old male role in Peking Opera. The development of these two genres has close relation to social psychology change during the turbulent context of the history.The Opium War in 1840 opened the gate of old China, but didn’t destroy economy and political structures of the traditional society. The whole society still impacted by the old conception such as heroes who save the world or be loyal to the emperor. But the fore three standouts of the old male role answered to this request in their way. They acted a great deal of roles of the old male and created the special art style of this genre with emblematical solemn masculine melody.After the Sino-Japanese War of 1894-1895, Chinese people started to rethink the meaning of this previous globalization war. The constant failures exposed weakness and disability of the governors and attacked the national confidence as well. Disappointment, sorrow and anger permeated everywhere. All art works in this time reflected the sorrow of the era no matter what kind of it. Among them, there were condemn novels doubting the feudal systems; war novels reflecting escape of the commanders; poems that were disappointed and angry with the reality; And even other operas reflected the suffer of wars. The second generation of the old male role of Peking Opera represented by Tan Xinpei created its own art style with the era’s brand. And it represented the living status and culture psychology trend of the time together with other art works like poems, novels and operas in the same culture context through the history.At the same time, the traditional aesthetic ideal and value of Chinese intellectuals definitely established a long history both in culture and social psychology of the old male role’s growing up.In a word, The influence of contemporary social psychology on Peking Opera genres is deep and comprehensive. Social psychology not only impacted the popularity and acting pattern but also the styles as play books, music even face-painting on it. Simultaneously social psychology even influenced audiences’psychology acceptance of aesthetic at the same time.更多还原