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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。
Compared to the study of Mei Lanfang overseas performances, 1925 Green Peony’s performance to Japan is less well known. As far as performance time and influence are concerned, Green Peony is the second person after Mei Lanfang, and the review of “Mei-Sheng-Victory” has also continued from the domestic in the early 1920s to the Japanese propaganda before the performance And the post-appraisal show the flourish of the art development of Peking Opera and the maturity of the art. It also reflects the overseas transition to the traditional recognition of Mei Lanfang and Chinese opera in the context of the new frame of reference. It is for this reason that it is important to examine the history of Peking Opera and the study of Mei Lanfang for this trip of “Peony Jingmei”.