寓教于乐与寓善于乐的双重变奏——余治戏曲改良的赓续与晚清慈善义演的兴起

Dual Variation of Education in Recreation and Charity in Recreation:The Inheritance and Evolution of Yu Zhi's Reform of Chinese Traditional Opera and the Rise of Charity Performance in the Late Qing Dynasty

面对晚清江南地区淫戏的盛行,以慈善家余治为首的戏曲改良活动主张编演善戏,寓教于乐,随后的义赈同人谢家福等则基于赈灾的现实需要,提出寓教于乐与寓善于乐并举,但因其贱视伶人,灾童演戏的提议先遭废止,又因善戏未参与慈善义演,尤其是善戏禁淫举措的失败,导致初兴的慈善义演只实现了寓善于乐。直到清末戏曲改良运动兴起,康有为、梁启超与陈去病等人不仅继承与革新了余治寓教于乐主张的内涵,还倡导改善伶人地位,唤起伶人的身份认同与社会责任感,后者遂积极编演新戏、参与义演,实现了寓教于乐与寓善于乐的双重奏。

In the face of the prevalence of pornographic plays in Jiangnan area in the late Qing dynasty,the opera reform led by Yu Zhi advocated creating and performing instructive plays to ensure education in recreation.Later on,Xie Jiafu and other initiators of the charity famine relief advocated making both education and charity in recreation out of the practical needs.However,due to their contempt for the actors,the proposal of famine-suffered children's performance was rejected.Then instructive plays failed to attend the charity performance,and the measure to prohibit pornographic performance failed as well.As a result,the charity performance only fulflled charity in recreation.After the rise of the opera reform movement in the late Qing dynasty,Kang Youwei,Liang Qichao and Chen Qubing not only inherited and innovated the connotation of Yu Zhi's idea of education in recreation,but also advocated the improvement of actors'status and aroused the actors'identity and sense of social responsibility;the latter then actively created and performed new plays and participated in charity performances,realizing the dual performance of education and charity in recreation.