CAJ | 학술논문

南社（1909—1923）这一文学团体在晚清对戏曲界产生了一些影响，这些影响除了来自南社成员发表的理论主张，还来自他们的艺术实践，其中他们把“捧角”作为倡导政治革命和戏曲改良的手段。从南社成员捧京剧演员冯春航（1888—1942）这一行为出发，可以管窥晚清戏曲中出现的现代性因子：与晚清戏曲改良的关联，戏曲演员社会地位的新变以及南社人“捧角”所展现的晚清都市大众文化。这些现代性因子对中国现代戏曲的自我确立意义深远。
남사（1909—1923）저일문학단체재만청대희곡계산생료일사영향，저사영향제료래자남사성원발표적이론주장，환래자타문적예술실천，기중타문파“봉각”작위창도정치혁명화희곡개량적수단。종남사성원봉경극연원풍춘항（1888—1942）저일행위출발，가이관규만청희곡중출현적현대성인자：여만청희곡개량적관련，희곡연원사회지위적신변이급남사인“봉각”소전현적만청도시대음문화。저사현대성인자대중국현대희곡적자아학립의의심원。
The South Society (1909—1923) had an affect on the traditional opera in the late Qing Dynasty. The inlfuence comes not only from the theoretical proposition of members in South Society, but also from their stage practice. In addition, they also make boosting actors a way of advocacy of political revolution and drama innovation. From actor-boosting practice of Pekin Opera actor Feng Chunhang by the South Society members, the modern elements of traditional opera can be seen:the relationship with drama innovation, the new social status of actors, and the urban mass culture in the late Qing Dynasty. These meant a great deal to the establishment of modern opera.