“海派”在京剧史上本指一种不守规矩的表演风气,后来逐渐掺入地域观念用来指以新剧为代表的上海剧艺,最后随着周信芳等名艺人的加入,“海派”最终成为一个杂糅含混、无所不包的概念。新中国建立后政治、文化环境与此前大不相同,带有“革新”色彩、与普通民众较为接近的被称为“人民性”的文艺更多得到肯定,京剧“海派”的语义也发生根本性的转变,由贬义变为褒义,成为专属上海的一个地域流派。对“海派”这种似是而非的概念进行刨根问底式地学术史梳理,有助于我们获得更多的戏剧史真相。 “Shanghai School ” in the history of Peking Opera refers to an unruly performance of the atmosphere, and later gradually incorporated into the concept of territory used to refer to the new drama represented Shanghai theatrical art, and finally with the artist such as the addition of Zhou Xinfang, “Shanghai School” eventually became a mixed, ambiguous concept. After the founding of New China, the political and cultural environment is quite different from that of the past. With the “innovation” color, the literary arts known as the “people’s character” closer to ordinary people are more affirmed. Peking opera “ ”The semantics have also undergone fundamental changes, from derogatory to compliment, a unique Shanghai genre. It is helpful for us to get more truths about the history of the theater from the plausible academic history of the plausible concept of “Shanghai School”.