辛亥时期海派京剧中的新思想与中国现代美学形态  

New Thoughts in Shanghai Peking Opera during the Xinhai Revolution and Modern Chinese Aesthetic Forms

作　　者：倪君[1] Ni Jun(College of Humanities and Communication,Shanghai Normal University,Shanghai 200234)

机构地区：[1]上海师范大学人文与传播学院

出　　处：《绥化学院学报》2019年第9期87-91,共5页Journal of Suihua University

摘　　要：京剧南下上海后,受本地工商社会环境和西方文化观念熏陶,逐渐形成一个新的地域性京剧流派——海派京剧。辛亥革命时期的海派京剧已经明显反映出很多新思想,通过分析研究辛亥革命时期海派京剧中的新思想,探索这一时期海派京剧中新思想产生背后的社会基础;通过辛亥时期海派京剧新思想看20世纪初期中国现代美学形态,从而更清晰的揭示在中国现代性进程中审美文化所起的作用。After Beijing Opera went south to Shanghai,influenced by the local industrial and commercial social environment and Western cultural concepts,it gradually formed a new regional Peking Opera genre-Shanghai Peking Opera.The Shanghai Peking Opera during the Xinhai Revolution has clearly reflected many modern thoughts.By analyzing and studying the modern thoughts in the Shanghai Peking Opera during the 1911 Revolution,the paper explores the social basis behind the emergence of the modern thoughts in the Shanghai Peking Opera during this period.Through the modern thoughts of the Shanghai Peking Opera during the 1911 Revolution,we can see the modern aesthetic form of China in the early 20th century.Thus,the role of aesthetic culture in the process of Chinese modernity can be more clearly revealed.

关 键 词：辛亥 海派京剧 新思想 现代美学形态 

分 类 号：I01[文学—文学理论]