清末粤商所建戏园与戏院管窥

光绪年间广州及佛山四大戏园之设,在当时的粤东实属创举,亦可谓是晚清城镇新兴的公共场所之一.我们可以估计,戏班在戏园演出,与在乡村空地或私人庭院里演出,可能会因环境、物质和社会条件、观众与演员的互动等因素不同而有异.可惜,目前笔者所能掌握的资料,均未能反映此四大戏园的建筑、舞台陈设、室内装璜、灯光和声音效果等具体情况,因而难以就清末戏园之兴起对戏曲表演的影响作进一步的推敲.不过,在四大戏园出现之前的三四十年,美国三藩市的粤商就已经自广州等地延请戏班到三藩市的剧院演出,未几更出资兴建专供中国戏班演出的戏院.     

数字时代的历史事实建构——以电子族谱编撰为例

近年在网络世界出现的帮助用查考及编撰族谱的网页,是探讨数码时代在万维网上衍生的历史叙述的建构过程,以及其有可能产生的社会和心理后果的一个例证。电子族谱在内容上虽然可以沿用既有的手钞和印刷族谱的素材,然而,电子族谱所衍生的编撰传统绝对不能视作手钞和印刷族谱的延续。相反,电子时代的族谱编撰和字时代的族谱编撰,分别见证着两种不同的社会事实建构的过程。进入数码时代,族谱的编撰很有可能从一个传统的、集体的、乡村社会的配套仪式,变成是个人的、存在于城市和网络空间的孤立的仪式。     

清末粤商所建戏园与戏院管窥

Around the year 1891, four theatres were established in the Guangzhou Prefecture. Three were located in the provincial city of Guangzhou, and one was in the town of Foshan. For a long time, Chinese operas were, on most occasions, performed either in private gardens or in public outdoor spaces. We may presume that the rise of these theatres as an urban phenomenon in the late nineteenth century would ultimately transform the form and style of opera performance in one way or another. However, material concerning the above-mentioned theatres is too limited for us to understand their buildings, furnishings, stage and seat arrangements, lighting and sound effects, and other related aspects. It is therefore very difficult for us to explore the possible connection between the physical elements of these theatres and the style of opera performances. Fortunately, in the mid-nineteenth century, some Cantonese merchants who were active in San Francisco hired a number of opera troupes from Guangzhou to travel to San Francisco and perform in American theatres. Some years later, they even built their own theatres in China Town especially for the performance of Chinese opera. English materials describing these overseas performances and theatres allow us to have some idea of what a Chinese theatre might be like, and to speculate how these overseas experiences may have left an impact on local opera troupes back in Guangzhou.     

A Preliminary Study of the Theatres Built by Cantonese Merchants in the Late Qing*

Around the year 1891, four theatres were established in the Guangzhou Prefecture. Three were located in the provincial city of Guangzhou, and one was in the town of Foshan. For a long time, Chinese operas were, on most occasions, performed either in private gardens or in public outdoor spaces. We may presume that the rise of these theatres as an urban phenomenon in the late nineteenth century would ultimately transform the form and style of opera performance in one way or another. However, material concerning the above-mentioned theatres is too limited for us to understand their buildings, furnishings, stage and seat arrangements, lighting and sound effects, and other related aspects. It is therefore very difficult for us to explore the possible connection between the physical elements of these theatres and the style of opera performances. Fortunately, in the mid-nineteenth century, some Cantonese merchants who were active in San Francisco hired a number of opera troupes from Guangzhou to travel to San Francisco and perform in American theatres. Some years later, they even built their own theatres in China Town especially for the performance of Chinese opera. English materials describing these overseas performances and theatres allow us to have some idea of what a Chinese theatre might be like, and to speculate how these overseas experiences may have left an impact on local opera troupes back in Guangzhou.     

五首被误植为黄节集外佚诗考辨

本文旨在考辨五首被马以君及郭长海误植为黄节《蒹葭楼诗》集外之佚诗。