工管：新劇、工會與戲班－1950年代初的潮劇改造

New Opera, Labor Unions and Actors' Troupes: the Reformation of Teochew Opera in the Early 1950s

林立(Li LIN)

《歷史人類學學刊》 16卷1期 (2018/04) Pp. 111-138

摘要

1950年代初，國家對傳統戲曲進行改造，即改人、改戲、改制，簡稱戲改。各地戲改形式不盡相同，在廣東潮汕地區，戲改幹部和藝人運用新劇和工會這兩種社會文化資源搭建合作平臺，在戲班成立工會，提出新劇，逐步禁演舊戲，改變了戲班的權力結構，潮劇從內容到形式都被改變了。這些改變，又觸發了另一層的變動。由於觀眾不接受新劇，導致戲班破產，上級只好要求戲班工會組織工人民主管理委員會(工管會)接管戲班，終於形成了「戲改會－工管會－劇團」的權力格局。這一結果的出現是過程中各色人等(包括班主)發揮主觀能動性，層層推進，多種因素疊加作用而成的。

關鍵字

新劇 ； 工會 ； 戲班 ； 工管

並列摘要

The state introduced a series of reforms to traditional opera in the early 1950s, namely changing actors, changing drama, and changing system, referred as the reformation of opera for short. The reformation of opera took on different forms in varions parts of the country. In the Chaoshan region of Guangdong, the cadres in charge of the reformation of opera as well as actors used two sociocultural resources, new opera and labor unions, to build a platform for cooperation. They set up labor unions within opera troupes, introduced new dramas, gradually banned old dramas, and altered the power structure of opera troupes. What they have done resulted in a radical change in both the form and substance of Teochew opera. These changes triggered developments at another level. Because audiences did not accept new (or reformed) opera, opera troupes went bankrupt. Thus, the authorities were compelled to instruct the actor unions to organize the Associations for Managing Workers to take over those opera troupes, giving rise to a tripartite power structure consisting of Committees for Reforming Opera, Associations for Managing Workers, and opera troupes. The human agency of various persons (including troupe masters) and the interaction of many factors in the process led to this result.

並列關鍵字

new opera ； labor unions ； opera troupes ； managing workers (actors)