角力與崢嶸：試論顧正秋與戴綺霞對臺爭勝之意義

1949年初，戴綺霞、顧正秋二位同樣來自上海的京劇名角，分別在臺北大稻埕新民戲院和永樂戲院登臺獻演，兩家臨近的戲院同時演出可視為打對臺。新民這邊，戴綺霞頂著「平劇皇后」榮銜，歷經上海、漢口、青島等大碼頭觀眾考驗，來臺加入由麒派老生徐鴻培領軍的海昇京劇團，以噱頭十足的海派本戲、武打戲為號召；而顧正秋出身上海戲校，坐科時蒙受各方名家指點，並正式拜入四大名旦之首梅蘭芳門下，在永樂演出的劇目，多半以唱工見長、遵循傳統的骨子老戲為主，正宗「京朝派」意味濃厚。這段歷時一個月的對臺，對「當事人」而言，似乎是演藝生涯中司空見慣的競爭，觀眾也樂得坐收漁翁之利，周旋於兩方大飽眼耳之福。是以無論其個人的回憶錄，抑或學界相關論述均未曾予以關注。然而，從一個月後海派名角戴綺霞便退出新民轉往中南部謀生，顧正秋卻成就了永樂黃金五年的後續發展看來，這場競爭看似「船過水無痕」，其實已經適度反映出作為政治經濟中心的臺北，其觀演風尚正隨著大批內地軍民移入而悄然轉變。亦即顧戴一戰，實為政治力尚未正式作用於劇壇前，臺北觀演風尚嬗變的前哨戰、風向球。本文由戴、顧二人對臺的歷史時點切入，透過當時報刊上雙方擁護者各據一詞的評論，以及田野訪談交互映證，完整勾勒這段名伶對臺事件，而後分析雙方劇目安排策略的爭勝手段，最後從觀眾反饋、文化背景特質、藝人自我認同心理和海派藝術走向僵化等面向，論證政治力作用之外，其他影響風尚轉變的內外在可能成因。

關鍵字

顧正秋；戴綺霞；徐鴻培；海派京劇；京朝派；永樂戲院；新民戲院

並列摘要

In early 1949, the famous Chinese Opera stars from Shanghai, Tai Chi-Hsia and Gu Zheng- Chiu, made their respective debuts at the Hsinmin Theatre and Yongle Theatre in Taipei: this was considered a stage duel since the locations of these two theatres were close. At the Hsinmin Theatre, with the title of ＂Queen of Chinese Opera＂, Tai had already successfully tested herself against audiences in Shanghai, Hankou, Qingdao and other major harbors, and came to Taiwan to join the Haisheng Chinese Opera Troupe, which was led by Hsu Hong-Pei, and was famous for its Shanghai style Chinese opera and martial arts. On the other hand, Gu was taught by many famous masters at the Shanghai Opera School, and was the official pupil of Mei Lan-Fang, the head of the four famous Dan (kind of female role) actors. Her repertoire at the Yongle Theatre was mainly traditional old plays or so called Peking style Chinese opera. This month-long duel of the two opera stars was a repeated occurrence during their careers, but for audiences seeing those two female actors on stage was quite enjoyable. After a month , Tai left the Hsinmin Theatre and went south to make a living, and Gu brought five golden years to the Yongle Theatre. The competition seemed to come to a traceless ending, but in fact it reflected the transformation of Taipei into a political and economic center, and the sober changes in its theatrical fashion after a large number of military personnel and civilians emigrated from the mainland. That is, the competition between Gu and Tai was actually a skirmish or a trial balloon during the evolution of theatrical fashion in Taipei before political forces officially influenced theatrical circles. Personal memoirs and academic discourses have not yet paid attention to this event, so this study is the first effort to cut into the historical story of the duel between Tai and Gu, using comments collected from supporters of both sides in newspapers from the time and compared with field interviews to make a complete sketch of the contours of the duel between two renowned female actors. We then analyzed both sides’repertoire arrangement strategies to understand their competitive methods, and finally demonstrated other possible internal and external causes of influencing the change of fashion, other than political forces, through the perspectives of feedback from the audience, the characteristics of cultural background, the internal psychology of the actors, and the rigid thinking of Shanghai style Chinese opera.