民国报刊视域下的“应节、义务戏”之退变衰败与现代戏曲生态嬗变

The Decline of “Plays for Festivals and Charities” and the Ecological Transmutation of Modern Chinese Traditional Operas from the Perspective of the Press in the Republic of China

20世纪上半叶的数十年,中国戏曲生态格局发生重大变化,乃由乡土转入都市之关键转折期。戏曲生态体系重心由乡土社会的母体文化依托,转而为都市市民社会的消闲娱乐载体,从而偏重艺术本体的精进与欣赏。戏曲艺术逐渐远离母体乡土文化,转而为精致的都市消闲商品,沦为玩赏之物。虽然梨园行有意无意地坚守文化诉求,并积极参与应节、义务戏。但"应节应景戏""义务戏"退变衰败的事实,不可逆转。这反映了民国戏曲生态由乡土向都市嬗变的艰难,以及注定无法完成的命运。

During the first half of the 20 th century, the ecological pattern of Chinese opera underwent a major change, which was a critical transition period from rural to urban. In terms of the system, the focus of opera ecology is based on the maternal culture of rural society, and turns to the leisure and entertainment needs of urban civic society, thus laying emphasis on the refinement and appreciation of the art itself. In short, opera art has gradually moved away from the material culture and become an exquisite urban leisure commodity, something to be enjoyed. Although traditional opera circles intentionally or unintentionally adhere to the cultural responsibility, and actively participate in Festival opera and Obligation opera. However, the fact that "plays for festivals" and "plays for charities" recede into decline is irreversible. It reflects the difficult process of the transformation of opera ecology from rural to urban in the Republic of China(1912-1949), as well as the fate that is destined to be unfulfilled.