戏剧启蒙与都市审美——论民国京剧“红楼戏”的两种价值取向

Dramatic Enlightenment and Urban Aesthetics: On the Two Value Orientations of “Red Chamber Drama” of Beijing Opera in the Republic of China

民国初期,随着新文化运动倡导者蔡元培、鲁迅等人对西方民主、自由、科学思想的推介,京剧界内部的民主思想高涨,以梅兰芳、欧阳予倩为代表的“红楼戏”创作,形成了较为积极、鲜明的反封建的价值取向。另外,20世纪20年代的上海,都市文化极度繁荣,大批新市民娱乐消遣的需求刺激“红楼戏”产生了着眼于追新逐异、言情风月的娱乐价值取向。20世纪30年代,民族危机日益深重,不管是反封建还是娱乐价值取向,最终都让位于救亡图存,慢慢退出了历史舞台。

In the early period of the Republic of China, with the translation and introduction of Western democratic, free and scientific ideas by the New Culture Movement advocates Cai Yuanpei, Lu Xun and others, the democratic ideas in the Beijing Opera circle soared, and the creation of “red chamber drama” represented by Mei Lanfang and Ouyang Yuqian formed a positive and distinct anti-feudal aesthetic value orientation. In addition, in Shanghai in the 1920s, urban culture was extremely prosperous, and the demand for entertainment by a large number of new citizens stimulated the “red chamber drama” to produce the aesthetic value orientation focusing on romantic affairs. In the 1930s, the national crisis was getting deeper and deeper, and the aesthetic value orientation of both romance and anti-feudal ethics eventually gave way to national salvation and slowly withdrew from the stage of history.