民国时期戏班运作与戏曲传承机制——以潮剧为例的社会文化史考察

The Operation of Theatre Troupes and Modes of Training during the Republican China Period:A Sociocultural Approach Based on Chaozhou Opera

民国时期戏曲艺术的戏班传承可分为科班、大班、大班带小班三种模式。大班带小班实际上是前两种的综合形态。本文以民国潮剧大班带小班为例,对戏班的组织结构、传承机制以及它们之间相互关系进行探析。戏班的管理权和艺术权威与拜神、戏曲艺术等文化因素交织在一起形成了戏班特有的权力文化网络。戏班人生活于其中,既是网络的一个个因子,又借助这些网络,使戏班的制度、规矩、习俗得以推行,将戏班变成一个严密的组织,完成戏曲演出,并使戏曲传承链得以运转。而戏班的组织运作与传承机制也因此紧密地扭结在一起。

During the Republican China period,there were three modes of operation in the theatre troupes:keban,or the systematically training mode;daban,or casual training,mainly for the purpose of commercial activities,and the combination of keban and daban.The combined mode will be the focus of the essay.Taking Chaozhou opera as a case study,this essay probes into the organizational structure of theatre troupes,the modes of and interaction between training and operation.The study delineates a cultural power network specific to theatre troupes that weaved various factors such as operational mechanism,artistic authority and worship,performance and art.People living in the troupe were not only individual nodes within the power network,but also active agents.It was their enactment that sustained rules and customs,further developed the organizational structure,and made the performance and inheritance viable.During the process,the connection between the operation and the inheritance also became much closer.