20世纪京剧在日本的传播

On the Spread of Beijing Opera in Japan in the 20^(th) Century

京剧正式走向世界的开端当以梅兰芳的访日公演为标志。中国戏曲的对日传播,在经过江户明治时期较为漫长的酝酿期后,在大正时代迎来了中日戏剧文化交流的高潮。1919年、1924年梅兰芳以其精湛的技艺征服了日本各界观众,把京剧传播到了日本,并掀起了一阵"梅兰芳热",其影响可谓深入民心。日本戏剧家更是改编了中国戏剧,从中国戏剧中获得灵感,创作了新作品。紧随其后的绿牡丹、十三旦、小杨月楼等人的访日公演则进一步推动了京剧在日本的传播。二战后,1956年梅兰芳率团代表新中国访日演出,重启了京剧海外传播之路。1972年中日恢复邦交后,经过两国艺术家的努力,今天中日戏剧交流已成为一种常态。

Mei Lanfang＇s public performance in Japan marks the beginning of the globalization of Beijing Opera. After a long preparation during Edo Meiji Period, the spread of Chinese opera in Japan has reached the climax of drama culture ex- change between China and Japan in Taisho Period. In 1919 and 1924, Mei conquered the audience from all circles with his supreme skill, and successfully spread Beijing opera to Japan and set off a trend of Mei Lanfang Opera Performance, whose influence has taken deeply in the hearts of people. Inspired from Chinese opera, Japanese dramatists revised it and created new works. Afterwards, public performances in Japan from artists like HUANG Yulin （Green Peony as his stage name）, LIU Zhaorong （Shi San Dan as his stage name）, YANG Huinong （Xiao Yang Yue Lou as his stage name） promoted the spread of Beijing Opera in Japan. In 1956 after the Second World War, Mei led a delegation to perform in Japan on be- half of new China that restarted the oversea spread of Beijing Opera. After the resuming of the diplomatic relations between China and Japan, moreover, with the effort made by artists of the two countries, the drama exchange between China and Japan has become routine.