近代演剧的横流:富连成的兴衰嬗递与民国北京剧坛的生态变迁——以1939年富社“南下”之行为中心的剧史探询

The Cross Flow of Modern Drama: The Rise of Fu Liancheng and the Evolution of the Ecology of Beijing Opera in the Republic of China: Inquiry into the History of Drama Centered on Fushe’s "South" Behavior

富连成科班凭借“戏重于角”的培养理念、现代“经理人”的组织模式等制度优势在民初京剧市场蓬勃发展的时期占据了北京剧坛的制高点。但随着民国中后期北京演剧生态的不断恶化,富连成下行的隐忧逐渐显现。1939年的“南下”巡演即是其转型过程中典型的临界表征,演出的始末既展现了科班前期的市场号召力,也表露了其“本地化”经营理念的动因与矛盾。其后富连成的衰落则是一个由众多因素交织而引发“质变”的复杂过程,有时局的紧张,更有内部的矛盾,甚至有始料未及的无端之祸,而北京戏剧演出风尚与市场生态的变革亦在其中扮演了重要的角色。富社的兴衰,不仅是其自身发展衍化的历史,亦是近代科班演剧的变迁史,同时还是民国时期北京乃至全国京剧市场生态的微缩投影,它烙印了传统戏剧从“古”至“今”的沙痕,也揭橥了中国戏剧教演文化的近代转型与分蘖。

With the training concept of"playing"and the organizational model of professional"manager",Fu Liancheng occupied the commanding heights of Beijing opera during the booming period of the Peking opera market in the early Republic of China.However,with the continuous deterioration of Beijing’s drama ecology,Fu Liancheng gradually revealed the hidden worries of the downside.The southward tour in 1939 is a typical critical representation of this transition.It not only demonstrated the early market appeal of Coban,but also revealed the motivation and contradiction of its"localized"business philosophy.The decline of Fu Liancheng is a complex process of“qualitative change”caused by the intertwining of many factors.There are sometimes tensions,internal contradictions,and even unexpected misfortunes.Beijing Changes in theatrical performance style also played an important role.The rise and fall of the rich society is not only the history of its own development and evolution,but also the history of the changes in modern scientific operas.It is also a miniature projection of the Beijing opera market ecology during the Republic of China and even the whole country.It has imprinted the traditional drama from"ancient"to"modern".The imprint of"also reveals the transformation of modern drama culture.