论清末至民国期间楚剧在汉口的发展困境  

On the Plight of Chu Opera in Hankou from the Late Qing Dynasty to the Republic of China

作　　者：谈太辉 TAN Tai-hui(School of Literature,Journalism and Communication,Hubei Engineering Institute,Xiaogan,Hubei 432000,China)

机构地区：[1]湖北工程学院文学与新闻传播学院,湖北孝感432000

出　　处：《湖北职业技术学院学报》2022年第2期78-83,47,共7页Journal of Hubei Polytechnic Institute

摘　　要：楚剧在其产生即黄孝花鼓戏时期,就屡遭当局查禁。早期黄孝花鼓戏因其粗鄙,在演出时经常受到当局的驱赶和查禁,在农村如此,到城市发展更是艰难。黄孝花鼓戏从1840年左右走进汉口,到1902年进驻租界并立足,并最终在城市扩展开来,1926年定名为楚剧,其从农村到城市走出了一段艰难的路程。楚剧在融入城市的过程中,不断去粗去鄙,借鉴和学习京剧、汉剧及兄弟戏剧的表演技巧和程式,紧跟时代的潮流,在革新和充实中走出了自己的道路。楚剧作为一个地方小戏立足于城市,并且在城市成熟和发展,其在困境中成长与突围的道路值得其他戏曲的借鉴。Chu opera or Huangxiao Flower Drum Opera was repeatedly banned by the authorities during its emergence.Early Huangxiao Flower Drum Opera was often expelled and banned by the authorities because of its coarseness.In the rural areas,it was even more difficult to develop than in cities.Huangxiao Flower Drum Opera entered Hankou around 1840,settled in the concession and established a foothold in 1902 and finally spread in the city.It was named Chu opera in 1926.It went through a difficult process from rural to urban.In the process of integrating into the city,Chu opera has constantly gone from rough to despicable,learned from the performances and procedures of Beijing opera,Han Opera and other dramas,followed the trend of the times,and walked out of its own path in terms of innovation and enrichment.As a local opera,Chu opera is based on the city and matures and developes in the city.Its way of growth and breakthrough in difficulties is worthy of reference for other operas.

关 键 词：楚剧 黄孝花鼓戏 租界 融入城市 

分 类 号：J825[艺术—戏剧戏曲]