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“新舞台”建立的背景 自1867年（同治六年）北京、天津两地京剧艺人大批赴上海演出,上海逐渐成为中国南方的京剧艺术中心。 京剧初入上海,立即风靡全城,“沪人初见,趋之若狂”。短短30年,京剧在上海的发展形成南派京剧的艺术特点:表演动作身段夸张、强烈;唱工灵活、流畅,适应上海观众的欣赏要求和趣味;传统剧和文明戏并重,追求戏剧的情节性和趣味性;舞台布景运用近代科技,追求新奇。 这期间,以上海为中心的南派京剧,曾一度被贬为“外江派”、“野狐禅”,排斥于“正统”京剧之外。上海名演员、“新舞台”创办人之一的夏月珊批评了这种偏见,认为:“京朝派唱戏一板一眼,海派唱戏也不能一板四眼。”海派并没有逾越京剧的艺术规范,而只是追求艺术风格上的发展。
Background of the “New Stage” Founded in 1867 (six years of Tongzhi period), Beijing opera artists from both Beijing and Tianjin performed in Shanghai. Shanghai has gradually become the opera center in southern China. Peking Opera first entered Shanghai, immediately swept the city, “Shanghai saw the first, ecstatic.” In just 30 years, the development of Peking Opera in Shanghai has formed the artistic features of the Peking Opera: the performance of the opera is exaggerated and intense; the singing worker is flexible and fluid, adapting to the appreciation requirements and interests of the Shanghai audience; the traditional drama and civilized drama are equally important and the pursuit of drama Plot and fun; stage set the use of modern science and technology, the pursuit of novelty. During this period, the Shanghai-centered Peking opera, which was once dismissed as the “Foreign Rivers” and “Wild Fox Zen”, was excluded from the “orthodox” Peking Opera. Xia Yue-shan, a famous actor in Shanghai and one of the founders of the “New Stage,” criticized this prejudice and held: “The Beijing Opera is not only one scene but one of the best in Shanghai opera.” The Shanghai School did not go beyond the art norms of Beijing Opera, Pursuit of artistic style development.