论晚清宁波串客戏的禁毁及其影响

The Prohibition of Chuanke Opera in the Late Qing Dynasty and Its Influence

清代中后期,宁波串客戏逐渐从最初的业余客串、“对山歌”发展成为一种有较为固定的演员配置、演出模式、唱腔的宁波地方戏。串客戏演出长期以来被统治者视为淫戏而大力禁毁,尤以1877年至1885年间宁波知府宗源瀚及其下属的禁毁串客的行动最具代表性。宗氏的禁毁虽然声势大、持续时间久、执行严,但客观上对串客戏的发展也产生了深远影响:一方面,促使串客活动中心从宁波城中转移至郊县乡下;另一方面,迫使大批艺人出走至杭州、上海等地,与当地的民间戏曲、曲艺等交流、融合,客观上为后来形成的宁波摊簧和甬剧奠定了基础。

In the late Qing dynasty, chuanke opera evolved from an amateur entertainment to a sophisticated opera genre, yet was considered obscene and prohibited by the government. From 1877 to 1885, there was a prohibition campaign directed by Ningbo governor, Zong Yuanhan, and his subordinates, which had great impact on the development of chuanke opera. Chuanke opera performance transfered from the city of Ningbo to suburbs and the country;performers exiled to Hangzhou and Shanghai, and brought the art of chuanke opera to these places to form new opera genres.