上海“小报文人”与都市戏曲发展——以唐大郎为例  

“Tabloid Writer”in Shanghai and the Development of Urban Opera:the Case of Tang Dalang

作　　者：吴新苗[1,2] Wu Xinmiao

机构地区：[1]中国戏曲学院戏文系,北京100068 [2]中国戏曲学院科研与研究生工作处,北京100068

出　　处：《复印报刊资料（舞台艺术）》2022年第11期68-76,共9页

基　　金：北京社科基地重点项目“历史的镜像:民国报刊中的戏曲评论与批评”(项目批准号:16JAYA015)的中期研究成果。

摘　　要：被誉为“江南第一支笔”的唐大郎是一位著名小报文人。他不仅在《东方日报》《社会日报》等小报上发表大量戏曲新闻、随笔和剧评,而且能粉墨登场,与戏曲界关系密切。这种现象在民国时期小报文人群体中相当普遍,揭示出小报文人群体与都市戏曲产生了深度啮合、相互依存的共生关系,形成特殊的戏曲文化生态,这对都市戏曲发展予以深刻影响。同时,唐大郎及其小报同仁们,为了推动戏曲的现代变革,以及出于地域文化保护立场,对以周信芳为代表的海派京剧大力揄扬。这促进了海派京剧的健康发展,也体现出上海小报文人戏曲理论的独特内涵。Tang Dalang,who has been described as“the best writer in Jiangnan region”is a well-known writer for tabloids.He wrote a large number of opera news,essays and theatrical critiques for tabloids such as Oriental Daily and Social Daily.He also played on the stage and kept a close connection with the theatrical circle.This phenomenon,however,was very common in the population of writers for tabloids during the period of the Republic of China,which not only reveals the deep interaction and inter-dependence of tabloids writers and urban opera but also forms special ecology of the population of tabloids writers.These all exerted profound implication on the development of urban opera.At the same time,in order to promote the modernization of opera and to protect the local culture,Tang Dalang and his fellows tried their best to praise the Shanghai style of Peking Opera,which is exemplified by Zhou Xinfang.This promoted a healthy development of the Shanghai style of Peking Opera and it also indicated unique connotation of the theatrical theory of the writers for tabloids in Shanghai.

关 键 词：都市戏曲 小报文人 唐大郎 周信芳 

分 类 号：J809.2[艺术—戏剧戏曲] G219.2[文化科学—新闻学]