从谋生到超功利艺术追求的嬗变——当代海外粤剧业余戏班活动研究  

Contemporary Overseas Cantonese Opera:The evolution from making a living to pursuing super-utilitarian art

作　　者：沈有珠[1] SHEN Youzhu(School of Chinese Language and Literature,Zhaoqing University,Zhaoqing,Guangdong 520061,China)

机构地区：[1]肇庆学院文学院,广东肇庆526061

出　　处：《肇庆学院学报》2022年第6期113-118,123,共7页Journal of Zhaoqing University

基　　金：广东省2017年重点平台及创新特色项目(2017WTSCX117);教育部人文社会科学研究规划基金项目(18YJA760043)。

摘　　要：近现代百年间,粤剧艺人在海外演出都是以演出薪酬作为谋生的来源。时至当代,由于新生代文化背景与娱乐形式有所改变,粤剧在海外之发展日渐失去观众基础。粤剧在海外传播与19世纪、20世纪粤剧全盛时期相比,呈现出别样的风貌:粤剧演出从职业化演变为业余化,从谋生需求演变为超功利的艺术追求,从在专业的粤剧戏院演出到无拘无束的广阔天地演出。纵观粤剧在海外之复兴及发展,虽举步维艰,却也充满希望。During the 100 years of modern times,Cantonese opera artists overseas earned their living by performing.Nowadays,due to the cultural background and entertainment forms of the new generation,the overseas development of Cantonese opera has gradually lost its audience base.Compared with the heyday of Cantonese opera in the 19th and 20th centuries,the overseas spread of Cantonese opera presents different features:the performance of Cantonese opera changing from professional to amateur;from the need to make a living evolved into a super-utilitarian pursuit of art;from performing in professional Cantonese opera theatres to unconstrained outdoor performances.Throughout the overseas revival and development of Cantonese opera,it is difficult,but full of hope.

关 键 词：当代海外粤剧嬗变 业余剧团 谋生 超功利艺术追求 

分 类 号：I207.3[文学—中国文学]