1912-1918年間北京女劇的興起－以《順天時報》相關資料為中心之研究

The Rise of the Female Theater in Beijing from 1912 to 1918 - With a Focus on the theater criticisms in Shuntian Shibao

吳宛怡(WU, Wan-yi)

《新亞學報》 35卷 (2018/08) Pp. 1-56

https://doi.org/10.6743/NAJ.201808_35.0001

摘要

本論文主要使用《順天時報》所刊登的劇評相關資料，釐清1912-1918年女劇在北京劇壇的發展狀況。從資料中可知，1907年左右，女演員最初是經由北京民間所舉辦的賑災捐款會而現身。同年，於北京租界地區，巡迴演出的馬戲團為了招攬觀眾，聘請天津的女戲班入京，將女戲加入夜晚的表演項目。1912年以後，禁令解除，女演員終於公開地登上北京舞臺，隨後施行男女分演的政策，造成女戲流行，北京戲園紛紛轉為由女演員組成的女班擔綱演出。此種女戲熱潮使得演出頻率大幅度地增加，演員不僅有機會發展各種行當角色，更有餘裕將表演藝術推向更高的層次。女演員在旦行表演上，特別是在花旦及正旦方面較男演員擁有更多的優勢，因而得到劇評家認同與觀眾的支持，在1915-1917年間，女戲攀登至北京劇界的頂峰，成為劇壇霸主。然而，由於過去遺風存在著輕蔑女演員的觀念，以致大眾無法給予足夠的尊重。舞臺上下承受極大壓力的女演員，往往無法如同男演員一般擁有相對長久的演出壽命，新舊女演員頻繁更替的狀況，成為女戲穩定發展的致命傷。北京的女戲最後在1918年開始走向衰退一途。透過《順天時報》的資料，本論文描繪了1912-1918年間女演員在北京劇壇的活躍歷程，這段專屬女演員的歷史值得為人們所記憶。

關鍵字

女演員（坤伶，坤角） ； 女劇 ； 女性觀眾（堂客） ； 順天時報 ； 劇評

並列摘要

This paper aims to discuss the development of the female theater in Beijing's theatrical circles during the period of 1912 -1918, based mainly on drama criticisms published in Shuntian-Shibao 順天時報. According to the information gleaned from this newspaper, female actors began to appear on the stage of Chinese opera in 1907, thanks to the disaster relief work organized by the civil society in Beijing. In the same year, a touring circus located in the concession area of Beijing hired a female opera troupe from Tianjin as a way of attracting audience, and added the female theater to their program at night. After 1912, the ban on the public performance by women was lifted and female actors eventually stepped on Beijing's opera stage officially. Afterwards, the Beijing government segregated the performance of male and female actors, resulting in the growing popularity of female-led drama. Taking advantage of the circumstances, female actors not only developed a variety of roles, but also pushed their performance to a higher level. The female actors were more suited than the male actors in the role of dan's (旦 female roles), especially in huadan and zhengdan, winning the approval of the critics and the support of the audience. From 1915 to 1917, the female theater climbed to the top of the Beijing theater, leaving other forms of drama in its wake. However, because of the traditional social contempt for female actors, they never won the respect they deserved. Having to work under great pressure, they were often unable to sustain a long performance life like the male actors. Frequent replacements of new and old female actors alike made it impossible for the female theater to develop in a systematic way, which came to its ultimate decline in 1918. Based on the information from Shuntian Shibao, this paper captures the activities of the female actors in Beijing's theatrical circles from 1912 to 1918, forming a unique chapter in the history of Chinese drama that is made up exclusively of female actors, and deserves to be remembered for that very reason.

並列關鍵字

female theater (nüju, nüxi) ； female actors (kunling, kunjiao) ； female audiences (tanke) ； Shuntian Shibao ； theater critiques