人文地理学领域鲜有关注"饮茶听粤曲"这一独特的音乐文化景观,鉴于此,本文以百年茶楼——荣华楼的曲艺茶座为例,采取深度访谈及参与式观察、定性描述方法,用"凝视"理论探讨在他者与我者、"看"与"被看"的互动中,荣华楼曲艺茶座其空间功能的塑造及转变、其社会关系的建构及意义。结果表明:①对茶楼关注的焦点随时间发生转移促使经营者思考如何改造展演空间的功能达到维持经营的目的,致使粤剧粤曲展演空间原有功能被分割;②"凝视"是一种展演反思的作用力;3粤剧粤曲展演空间发挥着维系社会某一特定群体文化体系的功能。

Cantonese opera is a special local music form. It is very popular in Guangdong province, Guangxi province, Macao, Hong Kong and colony of Chinese. The study of Cantonese opera has been concentrated on the artistry of performance, but rarely revealed the interactive significance of different people contained in the micro space. This article tries to use the Gaze theory and adopt qualitative description method to explore how the material space, space function and social space of Ronghua Teahouse changed and constructed under the interaction of seeing and being seeing. In the meantime, it also attempts to explore how the changing of performing space effected the survive or perish of Cantonese opera, which has been chosen as non-material cultural heritage. Meanwhile, the traditional functions such as social contact, bite and sup, recreation are being weakened and changed under the deprivation of other performing cultural. So, the performing space of Cantonese opera is a productive space, the construction of social relations is the result of the pursuit of identity, basing on the pursuit of economic interests. Secondly, gazing prompts the subject of performing and operators to self-examination, it becomes an important force of shaping the material structure of performing space. Finally, the performing space of Cantonese opera stores the collective memory of "LaoGuang", gazing the performing space, people quest the identity, so the performing space place a role in holding a cultural system of a particular group together.