近代上海京剧票界的生成

The Form of Peking Opera's Piao Community in Modern Shanghai

上海票房完全移植北京票房作为学戏场域的经验进而开始输出京剧人才，不只缓和了上海剧界紧绷的操盘神经，更将传统「票房科班」在收取「会费制」後质变为「票房俱乐部」，票友的定义和组成成份遂放宽、扩大。票友入票的目的受上海都市的社交性格影响，从原先只想登台学戏的个人化取向扩展为亟欲开拓社会人脉、实际参与现代社会的集体意识。「票界」正是在上海推波助澜下所形成，一方面是由南北之间自地理空间相互迁徙而来的国族想像之发端，一方面也是运用媒体的实际操作，加诸票房的分系连锁经营，便产生了「从房到界」的京剧生态空间的壮大景像。进入民国後的新时代，名伶们不用再为宫廷所徵召，虽内廷供奉提高了演员的社会地位，但也同时高举了名伶「自有靠山」的无形冠冕。皇权的完结，反倒让票友得到一展长才崛起的机会，运用他们的文化资本取代了宫廷的位置。当「票友捧伶」成为一种民国时期的常态，他们不但脱离了晚清票友「下海」分食伶人市场的竞争关系，进而成为一种互相形塑、照应的尊崇合作关系。《申报》也终於开始增多对票房和票友的新闻，可见「票界」势力已然浮上台面。

By importing the Peking amateur society (piao fang 票房) as the site for learning acting, and by turning out talents in Peking Opera, the amateur societies of Shanghai not only eased the commercial tension in the Shanghai theatrical world, but also qualitatively changed the amateur society from an old-style private association, to one based on the collection of tuitions that is a club. As a result, the definition and composition of theater connoisseurs (piao you 票友) became much wider. Due to the social scene in Shanghai, theater connoisseurs joined these communities no longer for the personal pursuit of performing on stage, but in order to expand their social networks and partake in the collective consciousness of modern society. The theater community of amateurs (piao jie 票界) took form with the influence of Shanghai, partly due to the beginning of an imagined nation following the trans-migration across geographical spaces, from north to south; and partly due to the practical use of media, even the sub-chain management system. This resulted in the magnificence of the theatrical world, from amateur society to community.Under the new Republic, professional actors were no longer summoned by the imperial court. Previously, such summoning elevated the status of the actors and bestowed on them the invisible honor of patronage. With the end of the imperial era, theater connoisseurs saw their chance to show off their talent and replace imperial patronage with their cultural capital. As their sponsorship of the actors became the norm during the Republican Era, connoisseurs not only freed themselves from the role of competing against professional actors in the market, but also developed a partnership where they shaped and looked out for one another. Shen Bao finally began to increase its coverage of news related to amateur societies and theater connoisseurs, an indication that the influence of the theater community of amateurs was on the rise.