A Study On The Report Of Banning The Destruction Of ShunPao(1872-1911)

Since the mid-19th century,in the face of internal and external troubles,the rule of the Qing Dynasty was shaky.The decline of the Qing court's political authority forced it to show its authority in the field of culture.As an important part of the cultural field,opera culture is inevitably banned and destroyed.The power of the Qing Dynasty acted on all parts of the opera culture just like the water in the capillary.In the early and middle period of Qing Dynasty,on the one hand,the Qing court used and enjoyed operas,on the other hand,it forbade folk performances.In the early and middle of the 19th century,the Qing Dynasty established its image and status of elegance and integrity by supporting the Ya Opera represented by Kunqu Opera.It also tried to legitimize the performance of operas by regulating urban space,opera types and restricting women's access to theatres,so as to better safeguard the imperial control of the Qing Dynasty.However,all these efforts failed to some extent,and the Qing court still could not control the performance of commercial theatres.In the late 19th century,the Qing court had to support the Hua operas represented by Pihuang,and control and supervise the content and ideology of Beijing Theatre.Therefore,the commercial theatre can no longer be a place to express unorthodox wishes,ideals and imaginations,nor a channel to express public discourse.This paper is based on the report of banning the destruction of opera in shunpao from 1872 to 1911,including news reports,commentaries,advertisements and songs,supplemented by authoritative historical books such as Declare Yearbook,Compilation of Historical Materials on the Prohibition of Novels and Dramas Published in Late Qing Dynasty and Historical Materials of Novels and Dramas Forbidden in Yuan,Ming and Qing Dynasties,and this paper mainly explores the following questions:What was the banning of operas in the early and middle Qing Dynasty under the influence of the political power of the Qing Dynasty,What were the reasons,measures and results of the banning of operas in the Qing Dynasty,In the face of the political repression of the Qing Dynasty on opera,how did the people respond to it and how did the capillary function of power affect the opera and its relatives.Based on these problems,the author mainly analyses the role and influence of political power in culture from three aspects:drama,audience and actor,place and time.In the first chapter,the author summarizes the banning of opera in the early and middle Qing Dynasty.Through the analysis of the Qing court's attitude towards opera and the people's attitude towards the government,the author believes that the Qing court's attitude towards opera in the early and middle Qing Dynasty has two sides.On the one hand,the Qing Emperor's good operas were performed frequently,and the Qing Emperor was also good at using the educational function of the operas to maintain and consolidate the imperial power control;on the other hand,the Qing Emperor maintained the attitude of forbidding and destroying folk operas.This dual nature has the character of" One man may steal a horse while another may not look over a hedge".In the second chapter,starting with the types of operas reported in shunpao from 1872 to 1911,the process and criteria of the classification of elegance and elegance are analyzed,and the specific content of "Imprisonment of Imprisonment"which is the most banned category of operas in ShunPao is analyzed,and From the no-report of banning flower-drum opera and the destruction of Pihuang opera,we can see that the support of the Qing court to Pihuang opera reflects the purpose of remodeling the opera hierarchy through banning and destroying the opera genresIn the third chapter,starting with the opera audience and actors who were banned from the opera reports in Shunpao from 1872 to 1911,the author analyzed that the Qing court forbade women to watch and learn opera while the theatre was full of men,but the changing stage of "men disguised as women"realized the crossing of gender boundaries.On the other hand,in order to avoid the Sinicization of the ruling class,the Qing court forbade the children and officials of the Eight Banners to enter the theatre to watch the theatre.However,their illegal acts unintentionally realized the crossing of ethnic boundaries.And the travelers who are banned from acting have also crossed the boundaries of social strata.In the fourth chapter,starting with the place and time of the banning of opera reports in Shenbao from 1872 to 1911,explores the prohibition and suppression of commercial theatres,temple fairs and night performances by the Qing Dynasty.Among them,the commercial theatre realized the distinction of social status and status through the way of differentiating seats by ticket price,and the prohibition of performing in the inner city indicated the fact that the Qing court tried hard to limit the commercial theatre to the edge of culture,politics and space.The performances of night operas subverted the traditional order of daily life;the temple fairs that allowed men and women to mix violated the traditional order of segregation between men and women,and the mixing of various groups also crossed the boundaries of classes and ethnic groups maintained by the Qing court.In the fifth chapter,with the decline of the Qing court's political power,folk opera performances,which had been suppressed by the Qing court's banning and destroying operas for a long time,began to fight against the Qing court and carried out a series of actions against the banning and destroying operas.Through the support of Pihuang,the Qing court successfully exerted influence on the content of Beijing's opera performances,and made the opera performances in commercial theatres project the Qing court's moral values,t was also the management and supervision of commercial theatres by the Qing Dynasty that made the way of public discourse expression of commercial theatres gradually lose its effectiveness.