“半新剧”:辛亥革命前后上海新潮演剧的真相与变幻  

"Semi-Trendy Drama":the New Features and Changes of Shanghai's Trendy Dramas before and after the Revolution of 1911

作　　者：谷曙光[1] Gu Shuguang

机构地区：[1]中国人民大学国学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第4期93-113,共21页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金重大项目“百年戏曲演出史及其发展高峰研究”(项目编号:1ZD15)的阶段性成果。

摘　　要：清末民初的新潮演剧,处于古、今、中、西的坐标交汇点。其时演剧类型虽多,但实以新旧参杂的“半新剧”为主导。处革故鼎新之大时代,纯旧戏、纯新剧都显得号召力不足,旧伶人和新剧家遂联合起来,创发出一种特殊的戏剧形态——“半新剧”。其新,在新故事、新布景、新服装、新言论;其旧,指旧丝竹、旧锣鼓、旧唱腔、旧程式。它既有革新意味,又非全盘西化;既不放弃老观众,又能吸引新看客。这种新旧折中的演剧形式,是渐变、温和的。上海的新舞台,是当时最负盛名的“半新剧”试验场。“半新剧”作为“摆渡者”“问路人”,是新、旧剧共存互补、协手创新的体现,也给其后二者的发展变革都带来一定影响。In the late Qing Dynasty and early Republican period,the Trendy Drama was at the coordinate intersection of ancient and modern,Chinese and Western.Although there were many types of drama,it was"Semi-Trendy Drama",a mixture of old and new forms,which dominated the scene.In the era of reform and innovation,purely traditional operas or modern dramas were not enough to call the audience.Therefore,traditional opera performers and modern dramatists compromised the ancient,modern,Chinese and Western dramas to created a special drama form-"Semi-Trendy Drama".It was new because of its modern stories,sets,costume,and speech.It was also old because it had traditional stringed and woodwind instruments,percussion instruments,operatic singing and formula.It was innovative but not wholly Westernized.So that it could attract both old and new audiences.The mixture of traditional and modern forms of drama developed gradually and moderately.The"New Theater"in Shanghai was the most famous stage for"Semi-Trendy Drama"to show at that time.The"Semi-Trendy Drama"was a special product of the transitional stage,as a"ferryman"and a"pathfinder".It was an important embodiment of the coexistence and complementarity of the traditional and modern dramas.And it also brought some influence to their subsequent development and changes.

关 键 词：半新剧 新潮演剧 旧伶人 新剧家 

分 类 号：J82[艺术—戏剧戏曲]