摘要
中国话剧史的主流论述里,清末戏剧改良一向被视为传统剧种尝试改变自身并追求现代化的过程,而其结果则直接促成了话剧的发生。在这条基于艺术进化论的线性叙事中,"现代戏剧"几乎已成为话剧的代名词,同时不无忽略戏曲适应现代社会的努力与潜能之处。相对于此,我试图从"现代剧场"的角度观察百年多来中国剧坛的变迁,将戏曲、话剧(以及介于两者之间的创作)均视为不可或缺的部分。清末戏剧改良言论盛行时,《潘烈士投海》和《黄勋伯义勇无双》都是上海丹桂茶园广受欢迎的作品。本文从剧场史研究的角度出发,尝试厘清这两出戏的成因、所演内容及当时观众的反应。
The devastating result caused by the Boxer Uprising engendered all kinds of reforming ideas during the last decade of Qing dynasty. According to the intellectuals＇ agendas, Chinese people could be enlightened by means of theatre once it serves as an educational institution and its actors as preachers. This paper examines the context and content of two late-Qing popular plays which were performed at the Dangui Teahouse in Shanghai. Both Martyr Pan Drowns Himself in Sea and Huang Xunbo the Most Un- selfish and Brave belong to ＂martyr plays＂, a genre appeared frequently on Chinese stage in and around 1907.
出处
《文化艺术研究》
2012年第3期123-137,共15页
Studies in Culture and Art
关键词
清末戏剧改良
戏曲现代化
丹桂茶园
潘宗礼
黄勋伯
late-Qing theatre reform
modernization of Chinese theatre
Shanghai Dangui Teahouse
Pan Zongli
Huang Xunbo
