【作者】 徐蔚；

【导师】 廖奔；

【作者基本信息】 厦门大学 ， 戏剧戏曲学， 2007， 博士

【副题名】中国戏曲特殊文化现象考论

【摘要】 男旦,即近人指称戏曲舞台上的男扮女角,曾是中国演剧史上的一个重要存在。传统戏曲的剧场体制为男旦跨性别表演奠定了基本程序与前提规范。脚色行当的性别辩证与戏曲服饰的性别符号寓意预设了易性表演的自由容量,辐射于剧场机制的传统性别文化规范催生并进一步促动了反串表演的发展。男旦艺术的萌兴、鼎盛与衰颓几与戏曲发展史相始终。旦色男扮源于歌舞、出于巫优;唐宋戏剧初备并臻于成熟,“弄假妇人”的伎艺衍变为杂剧的“装旦”与南戏的“妆旦色”;明代南曲诸声腔并起,旦色男扮成为剧坛主流;秦腔、徽班男旦塑造了独特的表演范式和审美趣味,但也存在着对低俗审美要求的迁就。考察明清时期盛极一时的易性扮演,必须将其归置于一系列特定社会生态系统:无论是明清易性乔装文本中隐含的性别文化规训,还是狎优蓄童现象附着于男旦身上暧昧的男色因素,它们深刻影响着乃至今人对男旦艺术的观感与态度。京剧男旦突破了前代男旦艺术的局限,旦行各门类的净化、融合与拓展提升了旦角表演的技术含量,男旦明星化成为20世纪上半叶中国社会变迁特有的文化现象。以梅兰芳为首座的京剧男旦群体革故鼎新,旦行“外形结构之美”与“内涵意境之美”的双重融合,是提升京剧艺术整体品格的不二法门。20世纪早期话剧舞台实践中的男旦是东西方戏剧文化衔接的临界点,它既为传统的性别反串艺术注入新意,也隐伏着戏剧表演体系与反串传统疏离的先兆。梅兰芳两度访日并赴美访苏,成为现代西方戏剧文化深刻认识中国戏剧乃至东方戏剧文化的介质和桥梁,其域外影响进而反转作用于国内剧界。然而,在“写实主义”绝对化理解的文化语境下,随着女旦群体的浮现,男旦艺术终趋式微。考察中西戏剧发展史,论艺术积淀之深厚、影响之深远,无过于中国戏曲舞台上的男旦,剖析男旦艺术形成的深层文化心理诱因有其特殊意义。男旦在当代社会的生存困境似乎也昭示,对男旦的刻意禁限或菲薄,泄露的恰恰是潜在的封建心理遗存。在涤荡戏曲封建伦理文化的前提下,男旦艺术仍有其存在的合理性与可能性。更多还原

【Abstract】 Male Dans,referring to actors who act the female roles in the drama, once played an important part in the history of the classic Chinese. The theatre-setting of traditional opera lays down basic procedures and norms for cross-gender performances. The dialectic of gender of roles and gender implication by drama costumes prescribe the possibility and feasibility of cross-dressing performances. The traditional norms of gender culture stimulate and further promote the development of cross-dressing performances. The fledgling, flourishing, prosperity and decline of the art of male dan almost accompanies the whole history of drama development. The art of male dan originates from songs and chances played by wizards. It took its initial shape and became mature in the drama in Tang and Song Dynasties when the skills of actors acting the female roles in female disguise gradually transformed into“zhuangdan”of Zaju and“zhuangdanse”of Nan-his. The system of male dan was not fully established until the late Ming Dynasty. Besides, the male dan in Qinqiang opera and Anhui troupe moulds a unique style of performance and aesthetic standards, too, but still makes compromise to vulgar aesthetic value to some extent. The cross-dressing performance, once flourished in Ming and Qing Dynasties, should be put into a series of specified social systems for better study: either the underlying gender culture norms in the cross-dressing texts or obscure masculine taste caused by male homosexual sensibilities attached to the male dan has been exerting profound influences on people’s opinion and attitude towards the art of male dan until today. The male dan of Peking opera broke through the limitation of its predecessors by refining, integrating and extending various roles of dan which greatly improved the level of performance of male dans. Male dans’being worshiped as idols became a culture phenomenon unique to social changes of China in the early 20th century. Male Dans represented by Mei Lanfang launched an all-round innovation in the art of Dan. The harmonious integration of beauty in the“external structure”---- performing skills of Dan and exquisiteness in its idea and artistic conception is the very key to improve the overall artistic performance of Peking Opera.Male Dan has ever played an important part in the history of the classic Chinese opera. The female impersonators of modern drama of earlier days in the early of the 20th century have not only poured flesh meaning into the traditional art of cross-dressing, but also lied concealed the first signs of losing contact with it. The art of male dan in Peking Opera has broken through the other role categories and reached the culmination of the art and the era. Mei Lanfang’s visit to Japan twice and the Soviet Union and the United States of America respectively has not only become the medium and bridge of the theatric culture of the eastern and the western, but also influenced the Chinese playerdom. However, with the develop of the actresses in the culture context of absolutizational understanding of realism, the art of male dan has on the decline.The male dan in Chinese drama cannot find its parallel in terms of the profound art background and far-reaching impact when the histories of the development of drama in China and the west are examined. It is of special significance to probe into the deep-rooted cultural and psychological factors that stimulate the formation of the art of male dan. The plight of male dan in today’s society seems to demonstrate that it is the latent vestige of feudal thought that has been revealed by the deliberate prohibition and restriction or degradation of male dans’performances.However, the existence and the development of this art is still rational and possible with the clear—up of the feudal and ethical culture.更多还原