早期话剧传播与接受的“蹊径”——20世纪20至30年代上海游艺场所中的话剧  

The"Path"of Early Drama's Dissemination and Acceptance--Drama in Entertainment Venues in Shanghai in the 1920s and 1930s

作　　者：赵骥[1] Zhao Ji

机构地区：[1]上海戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第4期160-171,共12页Drama:The Journal of the Central Academy of Drama

基　　金：2020年国家社科基金(艺术学)项目“上海话剧史料集成研究(1842—1949)”(项目编号:20BB018)的阶段性成果。

摘　　要：作为舶来品的话剧,在进入中国市场之后,一直便面临着与中国传统戏曲争夺观众的压力。为了自身的生存与发展,职业话剧团体便不遗余力地拓展话剧的商演市场,力争最大限度地获取市民观众的上座率,他们不论打着社会教育的旗号,或是提出市场“过渡”的理论,都是为了能在与传统戏曲和之后兴起的电影业之间的商业竞争中,立于不败之地。为之,早期职业话剧运动,一方面借助戏曲、曲艺和章回小说的内容,积极创作出市民大众喜闻乐见的剧目,如家庭戏、新闻时事戏等;另一方面努力谋求适合自身发展的商演空间,以期最大限度地拓展观众群,降低商演成本。上海自新世界诞生之后,游艺场所渐次兴起,因其交通便利,门票低廉而吸引了人数众多的游客,成为话剧长期驻足的有利空间。亦正是在这一过程中,话剧的传播逐渐扩展至上海市民社会的中下阶层,为20世纪40年代话剧的全面繁荣奠定了广泛的社会基础。Since entering the Chinese market,drama has been competing with traditional Chinese opera for audiences.To survive and thrive,drama troupes strived to expand the commercial performance market and attract as many audiences as possible.Therefore,either the idea of drama's social education function or the theory of market“transition"was for the sake of gaining competitive advantage against traditional opera and later the film industry.For this reason,in the early professional drama movement,new plays with intricate and fascinating plot drawn from opera,quyi and chapter novels about family,news,current events,etc.have been created.Steps were also taken to strengthen drama's position in the commercial market so as to win audiences and lower the cost.Since the completion of Shanghai New World Building,entertainment venues,which offered cheap tickets and were easy to get,sprung up,pulling in huge crowds of tourists,a favorable factor for drama to grow.It was also during this period that drama was accepted by the lower middle class in Shanghai,paving the way for prosperity of drama in the 1940s.

关 键 词：游艺场所 话剧商演 传播与接受 

分 类 号：J82[艺术—戏剧戏曲]