梅氏三代与“娼优合一”时代的终结——基于《清代燕都梨园史料》的讨论

The End of the Three Generations of Mei and the Age of "Confused Mix of Prostitute and Actor"——Discussion based on Historical Materials of Yandu Liyuan in Qing Dynasty

由于婚姻和职业都受到了以政治为主的压制与隔离,堂子时代的梅氏三代婚姻是"内群婚配制",职业为男旦。梅氏三代的交际圈皆为伶人,呈现出固定性和封闭性,直接导致伶人阶层的集体而非个人主体的贱民特性的形成。在晚清政治动荡和社会人口流动的情况下,旗人社会瓦解,融入伶界,生角势力壮大,旦角逐步衰微,而堂子作为男旦与老斗诗酒唱和的空间,侑酒功能减退,科班功能增强并取代之。梅兰芳进入新的时代。

As the marriage and occupation have been subjected to the political repression and isolation, three generations of Mel＇s marriage in the era of Opera Halt is ＂marriage between relatives＂ and their careers are female impersonators. Their so- cial circles were all actors, which are fixed and closed, directly lead to the formation of their lower social status of the com- munity rather than the individual. In the context of political turmoil and the flow of social population in the late Qing Dynasty, the Manchu society was disintegrating while more and more Manchu people integrated into the actors＇ community that made the male character increased and female character decreased in their numbers. Moreover, Opera hall was the place for drinking and composing poems between male character and extravagant literati, its function of wine proposing has di- minished and replaced by the ever enhanced function of opera major. Mei Lanfang entered a new era.