富连成社与作为现代媒介文化的京剧  

Fuliancheng Opera Society and Peking Opera as Modern Visual and Auditory Culture

作　　者：陈忆澄 Chen Yicheng

机构地区：[1]中国传媒大学艺术研究院

出　　处：《艺术传播研究》2025年第2期99-110,共12页Journal of Art Communication

摘　　要：20世纪上半叶,在机械印刷报刊、无线电广播、唱片等基于其时新的媒介技术的产物成为京剧的记录或传播载体之后,京剧不再只是一种舞台表演艺术,也同时成了一种具有现代性的视觉文化和听觉文化。面对这种观念和现实的双重转向,富连成社努力探寻经营之道,调整教育和演出的关系,始终坚守京剧传承和创新的责任。京剧的现代视觉文化和听觉文化拥有更广泛的大众性,与在地消费文化紧密结合,建构了更为多元的社会场景,起到了教育民众、思想启蒙的作用。富连成社积极应对新兴的社会文化带来的挑战和机遇,一方面主动利用新式媒介和技术,另一方面着力于人才培养和剧目体系建设,为京剧的传承在本体论、价值论和认识论等维度上书写了一段转型史。In the first half of the 20th century,after products based on new media technologies such as mechanical printing newspapers,radio broadcasting,and records became the recording or dissemination carriers of Peking Opera,it was no longer just a stage performance art,but also a modern visual and auditory culture.Faced with this dual shift in mindset and reality,Fuliancheng Opera Society strives to explore business strategies,adjust the relationship between education and performance,and always adheres to the responsibility of inheriting and innovating Peking Opera.The modern visual and auditory culture of Peking Opera has a wider audience and is closely integrated with local consumer culture,constructing a more diverse social scene and playing a role in educating the public and enlightening their thoughts.Fuliancheng Opera Society actively responds to the challenges and opportunities brought by emerging social cultures.On the one hand,it actively utilizes new media and technologies,and on the other hand,it focuses on talent cultivation and drama system construction,writing a transitional history for the inheritance of Peking Opera in terms of ontology,axiology and epistemology.

关 键 词：富连成 京剧 媒介 视觉文化 听觉文化 现代性 

分 类 号：J821[艺术—戏剧戏曲]