清末上海时事剧的兴起及其戏剧史意义  

The Rise of Shanghai Current Affairs Theatre in the Late Qing Dynasty and Its Significance in the History of Chinese Theatre

作　　者：吕茹[1] LV Ru

机构地区：[1]浙江传媒学院文学院

出　　处：《戏剧艺术》2022年第4期24-38,共15页Theatre Arts

基　　金：国家社科基金艺术学一般项目“近代广告传媒视阈下海派戏剧的崛起”(20200218)的阶段性成果。

摘　　要：清末,在政治社会变革、戏剧自身发展等内外合力推动下,上海京剧界开始关注社会生活及政治事件,编演时事剧。《火烧第一楼》(1887年)开创了沪上演出的新局面,然而由于官方及当事方的干扰,旋即禁演。随着《铁公鸡》(1893年)的面世,上海京剧舞台掀起了时事剧竞演的高潮。大批时事剧在题材表达、表演艺术、舞台美术、演出形态等方面迥异于传统京剧,初步实现了京剧的近代化转型。不少学者将其称之为“时装现代戏”,实际上这些剧作以市场意识为主导,并不具备真正意义的现代性。然而,对清末上海时事剧的兴起,不应只认识其之于海派京剧形成的标志性意义,还应思考其对戏剧改良时期时装新戏的启发、现代戏曲探索等层面的戏剧史意义。In the late Qing dynasty,driven by the external force of political and social changes and the internal force of theatre development,Beijing Opera circle in Shanghai began to pay attention to the social life and political events,and started to write and stage Current Affairs Theatre.The Burning of No.1 Building(1887) broke new grounds for Xiqu performance in Shanghai,which was then banned shortly after its staging due to the interference of the authority and those in concern.Then with the staging of Iron Cock(1893),there came an upsurge of competitive staging of Current Affairs Theatre in Shanghai.Most of these Current Affairs Theatre differed from traditional Beijing Opera in terms of themes,performing arts,stage design and performance forms,which indicated the first step of modernization of Beijing Opera.Though they are called “Shi Zhuang Xian Dai Xi” by many scholars,they are market-oriented and do not have a real sense of modernity.However,the rise of Shanghai Current Affairs Theatre in the late Qing dynasty shouldn’t be recognized only as the symbol of the shaping of Shanghai-style Beijing Opera.It is also worthwhile to think about its significance in the history of Chinese theatre,such as the inspiration it brought to the “Shi Zhuang Xin Xi” during the period of theatre reformation,and the exploration of modern Xiqu.

关 键 词：清末 上海 时事剧 火烧第一楼 铁公鸡 海派京剧 

分 类 号：J80[艺术—戏剧戏曲]