试探清末民初浙东地方戏赴沪发展之因  

The Hidden Reason for Eastern Zhejiang Local Operas Developing in Shanghai in the Late Qingand Early Republic

作　　者：戎奕帆 Rong Yifan

机构地区：[1]温州大学音乐学院,温州325035

出　　处：《音乐文化研究》2023年第1期74-86,5,共14页Music Culture Studies

摘　　要：清末民初,上海因其高度发达的经济文化和租界特殊的政治环境,吸引了大批浙东籍商人与劳动者前去经商、务工。同时,浙沪两地戏曲演出收入相差甚多,滩簧花鼓类小戏又遭地方官府禁演,在此背景之下,宁绍平原的绍兴乱弹、宁波串客和小歌班三种地方戏班走出家乡赴沪寻觅商机。居沪浙东籍劳动者与这批班社艺人间存在着以方言为载体的同根性、消费与服务的对等性以及社会文化的同层性关系。前者由此成为三个浙东地方剧种的戏曲消费人口,而后者通过对前者的演出服务与自身的艺术改良,使这些剧种在上海滩获得了立足与发展的机会。During the late Qing and early Republic,Shanghai with its highly developed economy and culture and the special political environment of the Concession,attracted many merchants and workers from the Zhejiang region.At the same time,there was no huge income difference between the opera performers in Zhejiang and Shanghai.While the performance of operas such as Tanhuan and Huagu were banned by the local government,three local opera troupes including Shaoxing Luantan,Ningbo Chuanke and Xiaoge Ban,left their hometowns to seek opportunities in Shanghai.The relationship between the workers of Zhejiang origin living in Shanghai and the artists of these troupes is one of homoge-neity in terms of dialect,reciprocity of consumption and service,and social culture.Those workers thus became the consumer of three Zhejiang local operas,while the opera performers got a chance to develop these three operas in Shanghai through their performance services and artistic improvement.

关 键 词：清末民初 甬剧 绍剧 越剧 浙东戏班 上海社会 戏曲消费人口 

分 类 号：J609.2[艺术—音乐]