女性主体性退场在中国古代戏曲中的呈现与意义——以《白兔记》和《雷峰塔》为例  

The Presentation and Significance of Female Exit in Ancient Chinese Opera——Take The White Rabbit and Leifeng Pagoda as Examples

作　　者：黄颖 吴雨璟 HUANG Ying;WU Yu-jing(Guangzhou College of Technology and Business,Guangzhou,Guangdong,China,510800;Jinggangshan University,Ji’an,Jiangxi,China,343000)

机构地区：[1]广州工商学院,广东广州510800 [2]井冈山大学,江西吉安343000

出　　处：《广东开放大学学报》2022年第3期81-86,共6页JOURNAL OF GUANGDONG OPEN UNIVERSITY

基　　金：广州市音乐家协会音乐文化研究2019年项目“从广府童谣看粤剧的戏谑性及其文化价值”(19GZYX004);2020广东省普通高校人文社科重点研究基地项目“广东女性研究基地”(2020WZJD004)。

摘　　要：在中国古代戏曲中,女性角色占据着重要的地位。明清剧本《白兔记》与《雷峰塔》呈现了女性角色主体性由强到弱的阶段性历程,它是女性社会权利变化的舞台折射。具体表现为未婚时女性角色主体性在场,能把控自己的人生,彰显个人魅力;婚后的女性角色主体性开始退场,社会用贞节束缚女性,打压女性魅力;女性产后主体性完全在舞台上退场,贞节物化成“磨坊”“塔”等具体形象,用以禁锢女性,这表明女性的主体性在婚姻当中被扼杀。戏曲舞台无意中揭示了女性无法自我返场,只能以男性话语“孝悌”作为婚育后唯一出路的深刻历史现实。In ancient Chinese operas,female roles maintained an important role.The dramas of The White Rabbit and Leifeng Pagoda in Ming and Qing Dynasties reveal the course of evolution of female roles becoming weaker,echoing of the change of women’s social rights.Specifically,when unmarried women appear on the stage,they are in control of their own lives featuring their personal charm.After they are married,women’s subjectivity tend to subdue,and the society restrains them with chastity and suppresses their charm;Women’s subjectivity is completely invisible on the stage after giving birth.Chastity is materialized into concrete images such as "mill" or "pagoda" to imprison women,implying that women’s subjectivity is killed in marriage.The stage inadvertently reveals the reality that women after marriage and childbearing,being unable to return to the stage themselves,have no choice but to rely on the male’s discourse of "filial piety" as the only way out.

关 键 词：女性 舞台 退场 婚育 

分 类 号：I237[文学—中国文学]