清末民初报刊剧话的文体承变与理论革新

The Stylistic Change and Theoretical Innovation of Drama Commentaries in the Newspapers and Periodicals at the End of the Qing Dynasty and the Beginning of the Republic of China

报刊剧话与聚焦传奇杂剧、文学批评本位的古代曲话之间并非简单的线性承继关系,而是直接滥觞于清中后期文人的梨园花谱写作。经由报刊媒介的形塑、戏剧改良思潮的推动与中外剧论的滋养,剧话于民国元年前后定型为一种以京剧、新剧等舞台流行剧种为主要批评对象,以即时化、公开化、品牌化的跨平台专栏创作为特色生产模式,文本与舞台兼重、史论研究与实践批评并举的综合性艺术批评文体。舞台本位意识在清末民初报刊剧话中的建构发展反映了古典戏剧理论“剧学”体系内部重心由“剧本作法”向“表演艺术”的迁移,曲话的独立发展、京剧与新剧剧话的日趋分离亦可视作传统剧论对近代传奇杂剧、花部戏曲、外来新剧“三足鼎立”之全新剧体格局的直接回应。

The relationship between newspaper drama commentaries and ancient drama commentaries focusing on chuanqi-zaju and literary criticism is not a simple linear inheritance,but directly originated from the writing of flower registers in the middle and late Qing Dynasty.Thanks to the press,the trend of theater improvement,and Chinese and foreign theater theories,drama commentaries became a comprehensive art criticism genre.Their primary objects of criticism were Beijing opera,modern drama,and other popular stage plays.The production mode of these commentaries was cross-platform columns that were immediate,public and branded.They placed equal emphasis on both text and stage,historical research and practical criticism.The development of stage-oriented consciousness in newspaper drama commentaries in the late Qing Dynasty and the early Republic of China reflects the migration of the focus from“script composition”to“performance art”within the“dramatology”system of classical drama theory.The independent development of drama commentaries focusing on chuanqi-zaju and the gradual separation of Beijing opera from modern drama can also be regarded as traditional drama theory's direct response to the brand-new drama pattern of the“triple triad”of chuanqi-zaju,local opera and modern drama.