论近代上海新式剧场的沿革及其影响

1908年,上海建成了中国第一家具有现代化设施的新式剧场－“新舞台”,此后,新式剧场风靡全国,不久即取代茶园成为戏曲演出的主要场所。新式剧场给戏曲艺术提供了一个封闭的演出空间,使得欣赏戏曲成为相对单纯、严肃的化娱乐活动,也促使戏曲艺术进一步发展。但新式剧场（镜框式舞台）毕竟是从西方引进的,它对于西方戏剧艺术自然是适用的,而对于中国戏曲独有的表演程式、观演关系等就有难以调和的矛盾。本对中国戏曲演出的观演心理作一番考察,进而从戏曲表演、戏曲语言、观演关系等方面讨论新式剧场（镜框式舞台）对于传统戏曲的“异质性”。

Towards the Evolution of Theatres in Shanghai in Modern Times

In 1908, "New Stage". China's first new - style theatre with modern facilities, was erected in Shanghai. Afterwards, new-style theatres were built all over the country and became very popular. Before long they took the place of tea gardens and became the main places for performances of traditional Chinese operas. Providing an enclosed space for performing traditional operas, the new-style theatres made the appreciation of traditional operas a comparatively simpler and more serious cultural recreation activity and promoted the development of traditional operas. However, the new-style theatres (the picture-frame stages), which were after all introduced from the West and were naturally suitable for western drama performances, did not fit in with the performing patterns and caused irreconcilable contradictions with the audience-performer relationship, both of which are unique to the traditional Chinese operas. This paper first makes a study of the psychology of both the audience and performers involved in the tea garden opera performances! then, it discusses the differences between the new-style theatres (the picture -frame stages) and the traditional operas in terms of the performances of operas, the language used in them, and the audience-performer relationship.