从文人日记看近代上海昆曲的传播接受

摘要

Shanghai is an important gathering place for Kunqu Opera performers in modem times, and it is also a window of further market - oriented Kunqu Opera performances. The acceptance of Kunqu Opera in modem Shanghai has been well documented in scholars' journals from which we know that thriving the- aters provided a stage for Kunqu Opera performances, with opera houses like Sanyayuan playing an essen- tial role by being exclusively opened for Kunqu plays. When watching or speaking of Kunqu plays, schol- ars in Shanghai often professed their heartfelt fondness effusively, fully and deeply imbued by Kunqu Opera. As Kunqu Opera declines when Peking Opera rises, they also pondered over necessary connec- tions between the two and differences of their aesthetic characteristics. Sun Baoxuan and Zhang Liaogong expressed distinctive opinions in their journals. Furthermore, scholars' joumals have also recorded and discussed a particular way of spreading Kunqu Opera by adapting Kunqu plays to Peking Opera and put them on stage, among which Wang Xiaonong' s reorganization of Partisan Tablet, The Peach Blossom Fan and Splashing Water in Front of a Horse are all successful examples.%近代上海是昆剧艺人的重要集中地，又是昆剧演出进一步市场化的窗口。对于近代上海昆曲传播接受的状况，文人日记作了翔实的记录。从文人日记可以看出，上海戏馆的兴盛，为昆剧演出提供了场所，特别是三雅园这样专演昆剧的戏园发挥了重要作用。近代上海或寓居上海的文人，看起或谈起昆剧，一种发自内心的喜爱之情常常溢于言表，充分表现出昆剧对文人浸染之深。昆剧的衰落恰逢京剧的兴盛，二者之间有没有什么必然的联系，而昆剧、京剧的审美特质又有什么不同，这也是喜爱戏曲的文人经常思考的问题，孙宝王宣和张聊公在日记中对此发表了不同的意见。近代上海昆剧的传播接受，还有一条特殊的途径，那就是将昆剧剧目改编为京剧剧目上演。汪笑侬改编上演《党人碑》《桃花扇》《马前泼水》，就是其中成功的范例。对此，文人日记也有所记述和评论，足以启发人们的思考。