接续与革新:民国时期汉口楚剧演出变迁论略

Succession and Renovation:On the Transition of Chuju Opera Performance in Hankou of the Republican Period

花鼓戏在清代是盛行于湖北黄孝一带的乡村戏,因唱词鄙俗、表演“淫邪”等弊病,被政府严厉禁演。至民国前期,花鼓戏仍被官厅严禁,在武汉只有汉口租界能演。1926年,国民革命军抵汉后,花鼓戏改称楚剧,获得在汉演出的合法身份。楚剧为了在汉口生存与发展,作了大量接续与革新工作,主要包括演员由兼职转为专职,补齐行当,角色上学习平剧、汉剧,更新剧本并更多采用连台本戏,新增的剧目突出时代性。楚剧的改进,使得政府对之由严禁改为管控。这些新气象促成了楚剧新的表演体系的形成,并冲击了汉口的戏剧市场。

Huagu Opera,a type of rural drama popular in Huangpi and Xiaogan,Hubei Province in the Qing Dynasty,was completely banned by the government for its coarse libretto and“obscene”performance.In the early period of the Republic of China,Huagu Opera was still officially prohibited;in Wuhan,its performance was allowed only in the concession territory of Hankou.In 1926 after the arrival of the National Revolutionary Army,Huagu Opera was renamed Chuju Opera and obtained legitimate license for performing in Hankou.For its own survival and development in Hankou,Chuju Opera underwent various succession and renovation:performers transformed from part-timers into full-time professionals;theatrical roles were completed;performers learnt from Pingju Opera and Hanju Opera;the librettos were renovated and serial plays were preferred;and the new repertoire highlighted features of the times.On account of the improvement of Chuju Opera,the government changed the ban into control.The new situations helped Chuju Opera to formulate a new performing system which had an impact on the theatrical market of Hankou.