【作者】 陈庚；

【导师】 傅才武；

【作者基本信息】 武汉大学 ， 专门史， 2011， 博士

【摘要】 民国以降,北京以专制帝国统治的结束和民主共和国家的建立为契机步入了快速发展的近代化进程。在近代资本主义因素快速成长,传统生产方式顽固存续,近代都市化进程不断建构,社会文化环境不断变迁的背景下,北京戏剧在城市近代化的激荡变革中承袭着传统并吸纳着新质,形成了初步发展的戏剧市场体系,并由此将清末以来的戏剧发展高潮推向了一个新的高峰。与清末戏剧相比,初立的北京戏剧市场发生了一些重要的质变。本文试图通过对这一时期戏剧市场的剖析,还原戏剧市场在行业结构、基本业态、运行机制、竞争态势和管理体制等方面的基本情况,并试图在共时性和历时性的双重视角下判定其发展阶段、解释其基本价值特征。除绪论外,全文分为七章：第一章介绍了北京戏剧市场的历史流变与1912—1937年间的社会文化环境。长期作为帝都的北京有着悠久的戏剧发展史,是全国的戏剧中心,到清末民国,北京戏剧再次掀起发展高潮。这一时期,北京政治地位的变化、资本主义的发展、民主思潮的传播、大众传媒的发展为近代化进程中的民国北京戏剧市场孕育了不同于专制时代的新的社会文化环境。第二章主要分析戏剧行业的市场构成。在近代北京市场体系之中,戏剧日渐演进为一个独立性娱乐行业,并建构了较为完善的市场体系。在市场主体方面,形成了以戏班和剧场二者有效合作的运行机制。在市场客体方面,观众群体日益壮大,群体内部分化加剧,并表现出不同的消费特征。并且,梨园公会、剧场公会等市场行业组织也有所发展。民国北京戏剧市场在戏班、剧场、行业协会以及观众之间的有效“结构化”,成为延续和推动近代北京戏剧市场繁盛的重要原因。第三章探析了以营业戏、堂会戏、义务戏三种演出形态为支撑的戏剧市场结构及其基本业态。营业戏是戏班、剧场的日常演出和经营方式,也是收入的常规来源。堂会戏是戏班或伶人单方面受邀参加为庆祝婚嫁、寿辰、生日等进行非开放性质的演出,是伶人获得高额演出回报的主要方式。义务戏是剧界为救助贫苦同业,或为赈荒或为公益、慈善事业进行的演出,体现的是伶界的道德情操。三种演戏形态相互补给、互为借势,不仅形成了艺术上蓬勃昂扬的生机活力,而且助推了戏剧市场的热闹喧嚣与繁花似锦,更在精神层面上彰显了商业化市场中戏剧界的人文关怀和价值指向。第四章探讨了戏剧市场中的经营运作问题。在合作上,戏班与剧场形成了自由合同式的契约合作方式。在分配上,剧场与戏班之间形成了分账制、场租制、包场制等多种分配方式。在戏班与剧场各自内部体系中,戏班内部通常按照角色等级进行戏码的安排和收入的分配,剧场则将一些副业以承包的方式进行租赁经营。同时,戏剧市场与近代大众传媒逐步联姻,广告宣传开始作为戏剧经营的重要手段和策略。第五章考察了戏剧市场激烈的竞争态势,并分析了由此引发的一些主要的戏剧业业态变迁。在戏剧市场外部,电影以新颖的艺术形式和平民化的票价分流了部分戏剧观众,对戏剧市场形成了强烈冲击；而在戏剧市场内部,戏班与戏班之间、剧场与剧场之间、伶人与伶人之间进行着激烈的竞争与竞技。并且,在竞争机制促动下,民国北京戏剧市场在戏班结构、角色体制、戏价、伶人群体特征、戏剧传播交流等方面发生了诸多的变迁,客观上加速了戏剧业的近代化进程。第六章论述了政府对戏剧市场的管理情况。民国时期,政府强化了对戏剧市场的管理和控制力度,管制方式呈现出向制度化和规范化方向发展的趋势。从管理机构的变迁来看,民国北京戏剧市场经历了两个阶段,在1928年以前,戏剧市场主要由京师警察厅负责管制,教育部的通俗教育研究会也兼负相应职能；在1928年以后,戏剧市场的管理主要以社会局为主,卫生、公安、财政、教育等职能部门兼管。从管理内容来看,戏剧内容的审查是管理的核心,尤其是北平市社会局管理期间,对大量的剧本进行了内容审定和演出内容的监督管理。此外,作为政府税收收入的一个重要来源,戏剧的税捐管理也是一个重要内容。第七章是余论,主要从共时性和历时性的视角探讨了北京戏剧市场的发展阶段问题及其转型特征。与国外主要国家戏剧市场相比,1912—1937年间的北京戏剧市场仍旧处在一个初级发展阶段,并且在历史文化传统和近代资本主义的双重影响下,在市场业态、运行机制、管理体制等方面呈现出明显的转型特征。1912—1937年间的北京戏剧市场,延续并集成了清代以来我国戏剧发展的高潮,将以京剧为主的近代戏剧市场推向了新的高度。在近代化的动力推进与历史文化传统的阻力妨碍的博弈关系中,北京戏剧市场代表了近代化转型进程中大多数城市所面临的发展境遇和转型特点,具有普遍性的意义；而作为帝都向地方城市转进的特例,北京戏剧市场的发展流变又表现出一种独特的价值内涵和文化意义。更多还原

【Abstract】 Since the establishing of the Republica of china, Beijing seized the ending of autocratic imperial rule and the establishing of the Democratic Republic country as an opportunity to start a rapid development process of modernization.With the rapid growthing of modern capitalism, the stubborn existencing of traditional economic, the constructing of modern urbanization, and the changing of socio-cultural environment, the Beijing’s Drama Market inherited the traditions and absorbed the new materials, and formed an initial market system, and thus promoted the climax of the drama since the late Qing Dynasty to a new peak. Compared with the drama in the late Qing Dynasty, the establishment of the Beijing’s Drama Market has some important qualitative changes.This paper attempts to analyze the Drama Market in this period, and restores the market structure, the basic format, operating system, competition and management system, etc., and trying to judge its stage of development, explain its values and characteristics in the perspective of synchronic and diachronic. In addition to the introduction, the text is divided into seven chapters:The chapterⅠintroduces the historical background and the external environment of the Beijing’s Drama Market in 1912-1937.In a long time,Beijing as the capital of china also was the drama centre. So, Beijing had undergone several development summits in the history of drama, and set off another climax once again in 1912-1937. Meanwhile, changes in political status of the modern Beijing, the development of capitalism, the spread of democratic ethos, and the development of mass media in the process of modernization, forcing the Drama Market to face a new social and cultural environment which is different from the authoritarian era.The chapterⅡanalyzes the composition of the Beijing’s Drama Market. The drama was to be an independence entertainment industry in the modern market system,and had build a perfect market system. In the aspect of Market Entity, the troupe and the theater had founded a effective cooperation system. In the aspect of the Object of Market, the audiences was growing with differentiating within the group, and showed some different characteristics in consumption. And, the Liyuan Association, the theater Association and other intermediary organizations also developed. The effective "structured" between the troupe, the theater, the industry associations, and the audience had promoted a continual prosperity of the Beijing’s Drama Market in the Republic of China.ChapterⅢdiscuss the structure and the type of operation state of the Beijing’s Drama Market which is formed and supported by commercial theatricals, private theatricals and voluntary theatricals. The commercial theatricals is the basic format and revenue in the market. The private theatricals is a perform that the troupe or the actor is invited to participate in a celebration of an unilateral marriage, birthday, etc,the actor can gain a high returns. The voluntary theatricals is to play a show to help the poor, or for relief or for the public welfare and charity which reflects the morality of the actors. The three forms are supplied each other, not only increasing the high-spirited vitality in art, but also boosting the drama in the market as a bustling scene with flowers, even then incarnating the humane care and values in the commercial markets in spirit.ChapterⅣexplores the market mechanisms and economic relations between troupe and the theater. The troupe and the theater as two separate economic entity,which cooperated in the way of a troupe take a theater or signed contract between them. On the distribution, the theater and the troupe formed split system, rental system, book system and other distribution systems. In the inner system, the troupe arranged the plays and distributed the revenues in accordance with the internal level of role, the theater usually leased out some sideline businesses to other operators. Meanwhile, the drama joint with the mass media,so the advertisement was to bring into the considerations in business.ChapterⅤreviews the drastic competition in the Bejing’s Drama Market, and analyzes the changes arosed by it. Outside of the the Bejing’s Drama Market,the movies brought a strong concussion on the Drama Market exteriorly by novel art form and popularization of the charge. In the internal market,there were fierce competition between the troupes,theaters,and actors.The competition compelled the market entity to take some strategies. And, motivated by the competition, some changes happened in the market structure, the role of institutions, the play price, the groups characteristics of actor,the communication of drama,which accelerated the modernization process of thedrama industry objectively.ChapterⅥdiscusses the management of the Bejing’s Drama Market by government. In the period of Republic of China, the government reinforced the degree of management and control for the Drama Market, which trended to be institutionalization and standardization. Viewed from the changes of regulatory agencies, Beijing’s Drama Market has experienced two stages, before1928, the Drama Market is mainly controlled by the Office of the Capital Police,and the Ministry of Education and Popular Education also beared some functions; after 1928, the Drama Market was mainly managed by the Bureau of Social,the health, security, finance, education and other functional departments keep an assistant. In view of the content of the management, the examination for plays is the core, particularly during the period of Beiping Bureau of Social, a large number of plays and perfoms were examined and supervised. In addition, as an important source of tax revenue for government, the tax management of the drama is also an important content.ChapterⅦis an epilogue, mainly discusses the transition stage and their characteristics of the Beijing’s Drama Market from the perspective of synchronic and diachronic. Compared with the main foreign Drama Markets, Beijing’s Drama Market in 1912-1937 was still in a preliminary stage,and showed an obvious transition characteristics in the market format, operation mechanism, management system, etc.which was impacted by the historical traditions and modern capitalism.The Beijing’s Drama Market between 1912-1937, inherited and integrated the climax of the Qing Dynasty, promotes the modern dama market to another height.In the game of motivity of the modernization and the resistance of historical and cultural traditions, the situation and transition characteristics of Beijing’s Drama Market represents the most cities which have to face in the process of modernization,so it has a universal significance,and as an example for Royal capital transferred into a local citiy,it has a unique meaning and cultural significance.更多还原