Abstract：Under the opera-forbidding policy in late Qing and early Republican China, changes happened in opera performance and viewer experience, namely the gender consciousness of role play, stage performances and audience composition. Through restricting the women-dominated performing and watching space, these changes highlighted the irreconcilable tension between the authority’s power will and the established aesthetic needs of the public. The prejudice against women performers in the patriarchal society made them unable to shake off the shackles for fear of losing their identity and social status. In the commodity economy, men began to share stages with women, which seem to indicate that women performers have achieved more power on the stage and liberation of their bodies, but it still reflects the fact that women performers are still watched and manipulated by men. A growing group of female audiences represent the awakening of their subjective consciousness, but do not overturn the existing social mechanism to change the relationship between audience and performers.
陈仕国. 角色、身体与空间：晚清民初禁戏与戏剧观演形态[J]. 《深圳大学学报》（人文社科版）, 2017, 34(4): 18-24.
CHEN Shi-guo. Role, Body and Space：Opera forbidding and Performance and Audience Experience in Late Qing Dynasty and Early Republican China. , 2017, 34(4): 18-24.
2017, Vol. 34 
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