晚期文明戏：改良与演变
摘要
“甲寅中兴”后，文明戏由盛转衰乃至一蹶不振。20世纪20年代，“堕落”后的文明戏沦落到上海的各个游艺场以及江湖码头。20年代以后的文明戏演出状况及其流变在戏剧史中几乎无迹可寻。
实际上，文明戏的演出在20世纪20年代以后一直持续到60年代文革开始前。卸去了作为启蒙艺术的过重负担，文明戏本身就具有的世俗性的一面得到了淋漓尽致的发挥。成为与整个下层市民文化中的有机体。
衰落之后的文明戏又经历了三次改良：第一次，“爱美的”戏剧运动，这次由部分文明戏剧家发起的运动直接催生了新兴的话剧，但同时也将营利性质的文明戏推向来运动的对立面——全面的商业化与民间化。
第二次改良，“孤岛”时期文明戏改良运动。这次改良运动是戏剧大众化的产物，留守于孤岛的话剧工作者加入进来，尝试将新思想注入已经失去思想活力的文明戏中去，帮助文明戏在孤岛时期的上海再次繁荣。
第三次改良是解放后“方言话剧”的社会主义改造。这次改良文明戏从内容与主题上与话剧提拉至基本一致，但是在表现形式上却因为它与中国传统艺术的特殊血缘关系成为话剧导演们的试验田。
纵观“堕落”后的文明戏的三次改良，也是文明戏被定位与通俗的、市民的、浅薄的，它的每一次改良都是和与之相对的精英文化的交锋与融合。改良的结果看似失败，文明戏这一独特的戏剧形态却以其它的形式流传保留。
After "Revival in Jiayin(1914)", Wenmingxi waned gradually and eventually became unable to recover. In 1920's,Wenmingxi could only find stages at recreational venues around Shanghai. After that, there is almost no traces and variations of Wenmingxi in the drama history.
In fact, the performance of Wenmingxi lasted until 1960's before the Culture Revolution. Without the heavy burden as an illuminative art, the secular feature of Wenmingxi was shown thoroughly. It became an organism in the culture of lower classes.
The declined Wenmingxi has experienced reforms for three times. At the first time, some dramatists initiated a movement which brought about modern spoken-drama. Meanwhile, the movement pushed Wenmingxi, which is profit-oriented, to opposite, which was totally commercial and civilian.
The second time happened during "Isolated-Island Period" (1937-1941). The movement was a result of popularization of drama. Spoken-drama workers who stayed in Shanghai during the period joined in, trying to inject new ideas into Wenmingxi that had already lost vitality and helping Wenmingxi flourish again in that period.
The third time happened after the Liberation in 1949. It was socialism transformation of dialect plays. This time, the Wenmingxi became almost the same with spoken-dramas in terms of contents and subjects. However, since Wenmingxi has special relationship with traditional Chinese arts, directors of spoken-drama liked to treat it an experimental plot of modern drama.
The three reforms of Wenmingxi formed up a history, during which Wenmingxi was defined as popularized, civic and superficial. Every reform was a confrontation and mixing between it and summit cultures. The consequences of these reforms seemed to be defeated. However, this unique form of drama has been passed down in other forms.
实际上，文明戏的演出在20世纪20年代以后一直持续到60年代文革开始前。卸去了作为启蒙艺术的过重负担，文明戏本身就具有的世俗性的一面得到了淋漓尽致的发挥。成为与整个下层市民文化中的有机体。
衰落之后的文明戏又经历了三次改良：第一次，“爱美的”戏剧运动，这次由部分文明戏剧家发起的运动直接催生了新兴的话剧，但同时也将营利性质的文明戏推向来运动的对立面——全面的商业化与民间化。
第二次改良，“孤岛”时期文明戏改良运动。这次改良运动是戏剧大众化的产物，留守于孤岛的话剧工作者加入进来，尝试将新思想注入已经失去思想活力的文明戏中去，帮助文明戏在孤岛时期的上海再次繁荣。
第三次改良是解放后“方言话剧”的社会主义改造。这次改良文明戏从内容与主题上与话剧提拉至基本一致，但是在表现形式上却因为它与中国传统艺术的特殊血缘关系成为话剧导演们的试验田。
纵观“堕落”后的文明戏的三次改良，也是文明戏被定位与通俗的、市民的、浅薄的，它的每一次改良都是和与之相对的精英文化的交锋与融合。改良的结果看似失败，文明戏这一独特的戏剧形态却以其它的形式流传保留。
After "Revival in Jiayin(1914)", Wenmingxi waned gradually and eventually became unable to recover. In 1920's,Wenmingxi could only find stages at recreational venues around Shanghai. After that, there is almost no traces and variations of Wenmingxi in the drama history.
In fact, the performance of Wenmingxi lasted until 1960's before the Culture Revolution. Without the heavy burden as an illuminative art, the secular feature of Wenmingxi was shown thoroughly. It became an organism in the culture of lower classes.
The declined Wenmingxi has experienced reforms for three times. At the first time, some dramatists initiated a movement which brought about modern spoken-drama. Meanwhile, the movement pushed Wenmingxi, which is profit-oriented, to opposite, which was totally commercial and civilian.
The second time happened during "Isolated-Island Period" (1937-1941). The movement was a result of popularization of drama. Spoken-drama workers who stayed in Shanghai during the period joined in, trying to inject new ideas into Wenmingxi that had already lost vitality and helping Wenmingxi flourish again in that period.
The third time happened after the Liberation in 1949. It was socialism transformation of dialect plays. This time, the Wenmingxi became almost the same with spoken-dramas in terms of contents and subjects. However, since Wenmingxi has special relationship with traditional Chinese arts, directors of spoken-drama liked to treat it an experimental plot of modern drama.
The three reforms of Wenmingxi formed up a history, during which Wenmingxi was defined as popularized, civic and superficial. Every reform was a confrontation and mixing between it and summit cultures. The consequences of these reforms seemed to be defeated. However, this unique form of drama has been passed down in other forms.
引文