男尊女不卑:“十七年”间越剧中的性别观探析  

Male Superiority and Female Non-Inferiority: An Analysis of Sexual Outlook of Yue Opera during the “17 Years”

作　　者：曾嵘[1] ZENG Rong

机构地区：[1]上海政法学院文学与传媒学院,上海201101

出　　处：《文化艺术研究》2016年第2期80-93,共14页Studies in Culture and Art

基　　金：上海市艺术科研规划项目"越剧男女合演"(项目编号:2015B06)的阶段性成果

摘　　要：越剧是流传于上海和浙江一带的地方剧种,"十七年"间在上海发展至高峰。在中国众多剧种中,它以全部是女演员、擅演爱情婚姻戏、观众多为女性而著称。越剧中的主要男性形象,是一类有别于传统主流男性形象的、以婚姻家庭为生活重心的完美丈夫之形象。通过对此类男性的想象与向往,越剧提出了特有的"男尊女不卑"的性别观。它是上海女性群体对"男尊女卑"性别观的不满,而在"男女平等"性别观无法全面落实的情况下,为保障自己利益而提出的折中诉求。The Yue Opera is a type of local drama that spreads around Shanghai and Zhejiang Province,whose development in Shanghai reached the peak during the period of 17 years. Among China^ s numerous types of dramas, the Yue Opera is well-known for its all female cast that is good atstaging plays about love or marriage, as well as for its mostly female audiences. Its main male imageswho are different from those traditionally mainstream ones are perfect husbands regarding marriageand family as their heart of life. By imaging and looking forward to this type of males, the YueOpera puts forward such a peculiar sexual outlook : male superiority and female non-inferiority, which reflects Shanghai female groups, dissatisfaction with the sexual outlook of male superiority andfemale inferiority, and their compromise claim which they make to guarantee their own interestssince the sexual outlook of equality of the sexes can not be extensively practicable.

关 键 词：越剧 典型形象 性别观 男尊女不卑 

分 类 号：J805[艺术—戏剧戏曲]