诗词中梅兰芳早期形象的塑造与文人心理探究--兼论新型士、伶关系的形成  

Mei Lanfang’s Early Images in Poetry,the Psyche of the Literati,and the Formation of a New Relationship between the Literati and the Opera Performers

作　　者：吴晨骅 WU Chenhua(School of Liberal Arts,Hunan Normal University,Changsha,Hunan 410081)

机构地区：[1]湖南师范大学文学院,长沙410081

出　　处：《文化艺术研究》2020年第3期87-95,共9页Studies in Culture and Art

摘　　要：京剧在清末民初走向鼎盛。作为代表人物的梅兰芳深受传统文人的喜爱,成为当时诗人词人竞相吟咏的对象,随之留下大量咏"梅"诗词。这些诗词作品建构了梅兰芳倾国花魁与盛世符号两类不同的早期形象,折射出文人面对政局动荡和文化冲击时自放与追忆的不同心理。追忆心理促使文人对梅兰芳的关注重心由色相转为艺术和精神,旧的花谱品鉴式的士、伶关系因而改变,作为艺术合作者的新型士、伶关系亦随之产生。In the late Qing and the early Republic of China,while Peking opera rose to its peak,Mei Lanfang,as a representative of Peking Opera,became a popular subject of poetry.His early images in poetry fall into two categories:a beautiful actor,or a symbol of the era,reflecting the literati’s mentality in the changing time and culture.While the literati’s focus changes from Mei’s appearance into his art and spirit,a new kind of relationship between the literati and the opera performers gradually formed.

关 键 词：梅兰芳 易顺鼎 况周颐 梅党 梨园花谱 

分 类 号：J809[艺术—戏剧戏曲]