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清末民初的北京,戏园作为典型的传统娱乐空间,在向新式戏院的过渡中呈现出复杂态势。新式戏院虽能轰动一时,却很少能持久经营,老牌戏园继续成为戏剧演出的主要场所,在演出内容和风格上更多是戏院向戏园的靠拢;模仿西式设计的戏院不尽合观众的口味,而旧式戏园通过主动改良大都具备了戏院的大致形态,体现了空间形态上戏园向戏院的趋同,同时又都保留了很多的传统消费习惯和不良积习;传统大戏园集中分布在前门地区,天桥小戏园则是底层民众的观剧场所,新式戏院没能打破这种空间格局,体现了社会阶层结构以及文化品味的延续。传统娱乐空间的更新与近代社会转型的节奏错位,是由文化娱乐产业的发展规律以及北京城市的文化传统和日常生活的内在属性决定的。
In the late Qing Dynasty and the early Republic of China, the opera house in Beijing, as a typical traditional entertainment space, presented a complicated situation in its transition to a modern theater. Although the new cinema can make a sensation for a while, it seldom lasts long. The old opera garden continues to be the main venue for theatrical performances. In terms of performance content and style, the cinema is closer to the play garden; However, the old-style theater mostly possesses the general form of the theater through active improvement, which shows the convergence of the theater to the theater in the spatial form, meanwhile retains a lot of traditional consumption habits and bad habits. The traditional opera garden is mainly distributed in the Qianmen area, small flyover is the bottom of the audience theater, the new theater failed to break this spatial pattern, reflects the social class structure and the continuation of cultural tastes. The update of traditional entertainment space and the rhythm mismatch of modern social transformation are determined by the law of development of cultural and entertainment industries and the inherent attributes of Beijing’s cultural tradition and daily life.