寧波崑班滬上商業演出研究;Research on Ningbo Kungqu Troupes’ Commercial Performances in Shanghai

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Title:	寧波崑班滬上商業演出研究;Research on Ningbo Kungqu Troupes’ Commercial Performances in Shanghai
Authors:	蔣瑜娟;Chiang, Yu-Chuan
Contributors:	中國文學系
Keywords:	甬崑;崑曲傳播;崑劇;寧波幫;上海小報;Yong Kunqu;Kunqu Dissemination;Kunqu Opera;Ningbo Guild;Shanghai tabloids
Date:	2024-01-22
Issue Date:	2024-09-19 14:42:34 (UTC+8)
Publisher:	國立中央大學
Abstract:	崑劇向以蘇州為主流，寧波崑劇源於蘇州，伶人養成教育過程須前往蘇州學藝；然而在晚清，蘇州崑班在南方商業中心上海的演劇已勢微，寧波崑班（下稱甬崑）卻在滬上戲園多次演出且聲勢頗盛，這段歷史鮮受注意，於是崑劇演出史到了清末，只有蘇州全福班在上海艱難經營至散班，崑劇傳播史則關注受播當地的搬演或與當地原生戲曲的融合，兩者缺乏互文性；要建構完整的崑曲演出及傳播史，需要更多關注蘇州班以外的崑班活動。本文透過爬梳 1898 至 1915 年間報紙，客觀觀察甬崑融入上海演劇生態的動態過程，重構其滬上獻藝的意義。細捋《新聞報》、《申報》主要中文報紙及休閒小報，滬上報界文人揄揚甬崑甚力，而其間隱約連結旅滬寧波移民，於是首先探討甬籍移民之政經結構與滬上文化生態，在中西文化及新物質文明的碰撞之間，甬商致力擴充各領域之影響力，致有甬崑滬上商演之機緣。其次梳理戲園廣告，按行銷規模及戲園區位分期討論甬崑經營的演變、與同業的交融及與報人群體的互動，光緒年間甬崑被視為傳承江浙雅樂之嫡系，至宣統年間，隨各地寓滬移民日增，甬崑亦須高舉原鄉旗幟，劇目、廣告文案皆有更張。復鉤沉劇目變遷以觀察演劇的功能性轉化，並從鄰近區域之小戲觀察其遺風，試圖代入其他區域融入崑劇態樣，以歸納寧波之崑劇吸收崑腔的共性與獨特性；最後，發現寧波幫欲凝聚移民群體及拓展勢力，聯袂報界文人以寧波崑班為形塑戲曲文化及傳遞群體意識的載體，寧波崑班赴上海獻藝，象徵崑曲逆向傳播的個案，可補充崑劇演出史，並重構晚清崑腔傳播的文化脈絡。; This paper examines newspapers from 1898 to 1915 to trace the dynamic process of Ningbo Kunqu troupes’ (hereafter “Yongkun”) integration into Shanghai’s theatrical ecology and to reconstruct the significance of their performances. Kunqu opera has traditionally been centered in Suzhou, with Ningbo Kunqu originating there and actors trained in Suzhou, yet in the late Qing Dynasty Suzhou troupes declined in Shanghai while Yongkun performed frequently and gained notable acclaim. By the end of the Qing, only Suzhou’s Quanfu Troupe remained before its dissolution. To build a fuller history of Kunqu performance and dissemination, troupes beyond Suzhou must be considered. Drawing on Xinwen Bao, Shen Bao, and popular tabloids, the study shows how the Shanghai press praised Yongkun and linked them to the Ningbo immigrant community. It first explores the socio-economic structure of Ningbo immigrants and Shanghai’s cultural ecology, revealing how Ningbo merchants expanded their influence amid the clash of Chinese and Western cultures, creating opportunities for Yongkun’s commercial performances. Analyzing theater advertisements, it traces the evolution of their operations, marketing strategies, and interactions with peers and the press, noting how their repertoire and advertising shifted from Guangxu to Xuantong as the immigrant population grew. By following repertoire changes, the study observes the functional transformation of performance and identifies both shared and unique traits of Ningbo Kunqu in absorbing Kunqu style. It concludes that Ningbo merchants, seeking to unite the immigrant community and expand their influence, collaborated with the press and literati to use Yongkun as a cultural vehicle. Their performances in Shanghai exemplify a reverse dissemination of Kunqu, supplementing performance history and reconstructing the cultural context of its spread in the late Qing.
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