民国时期流寓宁夏的京剧艺人——兼述其对宁夏秦腔的贡献

On the Artists of Peking Opera Staying in Ningxia in the Period of the Republic of China——Their Contributions to Qin Opera in Ningxia

京剧在民国初年传入宁夏,其艺术魅力危及流行于银川等地的山西梆子、河北梆子班社,艺人纷纷改学京剧,出现了京剧与梆子"两下锅"的演出模式。20世纪30年代,宁夏有了土生土长的京剧伶人。随着京津冀等地的京剧名角来到宁夏,至30年代中后期,"京秦合演"的局面出现,京剧规范的表演模式与名角的精湛演技大益于秦腔的剧目发展与技艺精进,流寓宁夏的京剧艺人对京剧在宁夏的传播及秦腔的进步起到了积极的作用。

Peking Opera was introduced into Ningxia in the early years of the Republic of China. The troupes of Shanxi Bangzi, Hebei Bangzi popular in Yinchuan were threatened with its artistic charming, so many artists switched to study Peking Opera, and two performance modes of Bangzi and Qinqiang Opera appeared in stages of Yinchuan. In the1930 s, Ningxia had many native performers of Peking Opera. With the artists from Tianjin, Hebei and other places coming to Ningxia, in the late 30 s, Peking Opera and Qin Opera appeared together in the drama stages of Ningxia. The standard-based performance of artists of Peking Opera has made great contributions to the development and promotion of performance of Qin Opera. In a word,artists of Peking Opera who lived in Ningxia has played a positive role in spreading Peking Opera and helping Qin Opera progress.