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民国十八年一月七日《申报》上的滩簧信息的价值

收录:2007-5-28  作者:朱恒夫  来源:(《东南大学学报》2007年第1期)  点击:1634
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[关键词]《申报》;滩簧;研究

[摘要]民国十八年(1929)之前,江、浙、沪三地的滩簧活跃于上海的演艺场所、家庭堂会,开创了男女合演的表演形态,时装戏成为主流性的滩簧剧目。民国十八年,苏滩在上海的滩簧坐唱中,影响最大,而时装戏基本上由申滩演出。申滩之所以能演出具有现代戏曲性质的时装戏,其原因有四点:一是受电影、话剧的影响,二是有深厚的社会基础,三是突破了家庭成员组班的模式,四是由剧院老板投资,解决了资金问题。

Value of the information about Tan-huang in Shen News on January 7, 18 of Republic of China

Zhu Hengfu

Key words: Shen News, Tan-huang, research

Abstract: Before 18 of Republic of China(1929), Tan-huang from Jiangsu, Zhejiang and Shanghai was performed actively in Shanghai`s public places and private houses. Tan-huang started the performance style of actors and actress on the stage simultaneously and made the opera of fashionable dress to be the main shape of Tan-huang. During 18 of Republic of China, Su-tan had the biggest influence in the form of singing seatedly, meanwhile, the opera of fashionable dress was performed mainly in the form of Shen-tan. There were fours reasons to explain why Shen-tan could be performed in this modernistic form: first, it was influenced by movie and drama, second, it had profound social foundation, third, it had broke through the pattern of which the troupe was formed by family members, fourth, it was invested by theater owners which helped to solve its finance problem.

《申报》在民国十八(1929)一月七日“本埠增刊”第二版上刊登了许多滩簧的广告,这些信息对于了解彼时滩簧的历史有极大的价值,我们从中可以知道滩簧在上海的生存状况,有哪些外地的滩簧到上海来演出,有哪些演员受到观众热烈的欢迎,当时演出哪些剧目,剧目又是如何表现的。本文即从这些角度来作些介绍与分析。

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