摘要
清季戏剧与社会均面临改革,而戏剧和社会改革同样成为世人关注的焦点。优伶结交三教九流,与政治从来渊源甚深,清季民初的名伶田际云即其显例。此公一面登台亮相,与文人票友从事戏剧革新,一面广泛交游,凭借出入内廷宫禁之便,相继与维新革命活动发生程度不同的联系。而戏里戏外,情景交融,真假虚实,浑然一体。田际云革新戏剧,与文明戏(即话剧)南北两派的代表关系颇深,其与北派王钟声的交往前人着墨较多,而与南派任天知的关系其实同样精彩。三人在舞台上下的言行如出一辙,浓缩了清季社会风云变幻的时代相。
Chinese opera and society were both confronted with transform in the late Qing. And the transform of Chinese opera also became the central issue on which common people were focus like the reform of Chinese society. To the actors of new opera, the opera liked the life and the life liked the opera too. They not only served in dual capacity, but also considered the reform Chinese opera and society as the same career. What a striking similarity between the activities on and off the stage. The actors who associated with various religious sects and academic schools, had been deep historical origins with politics, Tian Jiyun was one of the obvious examples in the late Qing and the early Republic. On the one hand, he went upon the stage and effected the reform of Beijing opera with literati and amateur performers; on the other hand, he had a large circle of friends and kept in contacts with revolutionary and reform movements in varying degrees, relying on the convenience of coming in and going out the imperial palace. And that, his activities inside and outside the opera, the true mingled with the false, were together in perfect harmony.
出处
《学术月刊》
CSSCI
北大核心
2006年第5期113-119,共7页
Academic Monthly
关键词
田际云
京剧
维新
革命
Beijing opera, Tian Jiyun, the late Qing, reform, revolution
