民国时期汉口地区汉剧坤伶崛起及影响

The Rise and Influence of the Hanju Actresses in Hankou Area in the Period of the Republic of China

汉剧坤伶在汉口的公开演出迟至上世纪20年代中期才成为现实,但坤伶登台后发展迅速,在上世纪3 0年代中期已成为汉剧艺人的重要组成部分,且叫座能力超过男伶。由于第一代坤伶多是妓业从事者的养女,汉口小报出现大量指责坤伶兼营妓业、不专心于汉剧艺术的文章,其本质是坤伶作为汉剧演员的职业身份不被认可。汉剧坤伶职业身份的构建主要由第二代坤伶完成。坤伶崛起的影响在于,汉剧“十大行”唱做分离、唱与做追求高难度的剧种个性,在坤伶崛起后发生动摇。坤伶习八贴行居多,多打破“十大行”中四旦、八贴的艺术分野,使汉剧八贴与京剧花衫趋同;坤伶及八贴行的地位上升,又为新中国汉剧“十大行”旦行独尊的格局埋下了伏笔。

It was not until the mid-1920s that the Hanju actresses gave public performances in Hankou.However,the phenomenon of actresses developed rapidly ever since and actresses became an important part of the Hanju acting in the mid-1930s.attracting more audiences than their male counterparts.As the first generation of actresses were mostly adopted daughters of prostitutes,the Hankou tabloids was replete with accusations that the actresses were not full-time on stage by working us part-time prostitutes.The main idea is that the actresses were not recognized as professional actors.The construction of the professional identity of the actresses in Hanju was mainly completed by their second generation.The rise of actresses challenged the sepuralion of singing and aeling.and the highly refined singing and acting skills which were epitomized in the"ten types of roles"in Hanju.Most of the actresses played the batie(subsidiary female character as the eighth type of role),which broke down the harriers between the sidan(female character as the fourth type of role)and the batie(the eighth type)of the"ten types of roles",drawing the poilie of Hanjti closer to the hnashan(female role in colored costume)of the Jingju.The rise of actresses and batie foreshadowed the exclusive importance of the female roles among the"ten types of roles"of Hanju after the founding of the People's Republic of China.