“相公”是徽班进京后对某类童伶的称谓,绝大多数是男旦,他们住在师傅的私寓里,或出师后自立堂号,除演戏之外,还要从事歌舞侑酒陪客的工作。正因如此,“相公”也成为戏曲史上为前人讳、为尊者讳而很少被谈及的一个话题。在清末改良思潮兴起、堂子趋于没落的历史情境下,一些追求上进的相公开始自我救赎,向戏曲本业回归;发生变化的还有相公身边的文人,随着狎优心态的淡化,他们从狎优的客人转变成捧角的戏迷。文人利用报纸这样的大众传媒,主要从德、艺两个方面,评价、鼓吹、揄扬自己喜欢的相公,这既奠定以后捧角的基本模式,也为男旦艺术在清末民初的兴起和发展起到重要的推动作用。 “Xianggong ” is emblem class into Beijing after the title of a class of Tong Ling, the vast majority are male Dan, who live in the master’s private apartment, or since the independence Hall Hall number, in addition to acting, but also to engage in Song and dance wine accompany guest work. Precisely because of this, “Xiang Gong ” has also become a topic in the history of the opera for the taboo taboo, revered taboo and rarely talked about. Under the historical situation of the rise of the thought of reform in the late Qing dynasty and the declining trend of the daughters, some of the ascetic philosophers started to self-salvation and returned to the field of opera. In addition, the literati around the protagonists changed with their desires The gifted guests turn into opera fans. The mass media, such as newspapers, make use of mass media such as newspapers to evaluate, preach and promote their favorite allusions. This not only lays the basic model for holding later angles, but also the rise of male-Dan art in the late Qing Dynasty and the early Republic of China Development has played an important role in promoting.