摘要
相比对梅兰芳海外公演的研究,1925年绿牡丹的赴日公演则少为人知。就公演时间和影响力而言,绿牡丹堪称梅兰芳之后的第二人,而"梅绿争胜"的评论,也从20年代初的国内,一直延续到公演前的日方宣传和观后评价,展现出京剧艺术发展至纯熟期的繁花似锦,也折射出在新的参照系出现的情形下,海外对于梅兰芳以及中国戏曲传统认知的转变。正因如此,考察这段"牡丹竞梅"之旅,对于京剧史本身和梅兰芳研究皆有重要补益。
The study on Mei Lanfang＇s overseas performance has entered its golden age. By contrast, the Japanese tour of Huang Yulin （Lv Mudan, meaning Green Peony, is his stage name） in 1925 was rarely known by people. Actually, Lv＇s Japanese tour on Mei＇s heels also gained great success which made him a strong competitor of Mei in the public opinion both in China and in Japan during the period of 1920＇s. As an important complement to the historical research of Peking Opera and a remarkable cross reference to the study on Mei Lanfang, the study on Lv＇s competition tour can not only represent the prosperity of Peking Opera in that period, but also reveal the change in the foreigners＇ perspective on the tradition of Chinese Xiqu.
出处
《戏剧艺术》
CSSCI
北大核心
2015年第2期64-72,共9页
Theatre Arts
基金
教育部人文社会科学研究青年基金项目"近代戏曲译介与跨文化评价个案研究"(批准号:13YJC760038)阶段性成果
关键词
绿牡丹
梅兰芳
赴日公演
梅绿争胜
戏曲传统
Lv Mudan
Mei Lanfang
Japanese tour
competition between Mei ＆ Lv
tradition of Chinese Xiqu
