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近年来,日本和中国的戏剧交流日益增多。仅来日公演的,从京剧到昆剧、越剧、绍剧、汉剧、河北梆子、话剧等,剧种多样;公演形式也是从大规模公演到极小规模的公演;从数城市巡回公演到一城市直去直归的公演;从商业性公演到自治体主办的友好城市交流;从面向一般观众的公演到为学生及儿童的公演,确是多种多样。很难一概尽知。 最初刊登在日本杂志上的有关京剧的记叙要算是1902年11月发行的杂志《歌舞伎》三十号上的记叙啦。久保田米仙以《中国的戏剧》为题,介绍了上海九香园的舞台、观众及在当地所观看的《玉麒麟》和《大名府》。刊载的海报上有赛活
In recent years, there has been an increase in the exchange of drama in Japan and China. Only performances from the Beijing Opera to Kunju Opera, Yue Opera, Shaoxing Opera, Han Opera, Hebei Prodigy, drama and other performances are also varied. Performances are also performed from large-scale performances to very small-scale performances; Go straight to the performance; from a commercial performance to friendly city hosted by the local government exchange; performance from the general audience to performances for students and children is indeed varied. Hard to know everything. The narration of Peking Opera, originally published in Japanese magazines, is a memoir on the 30th, the magazine Kabuki, which was released in November 1902. Kubota Misaki introduced the stage of Shanghai Jiuxiangyuan, the audience and the “Jade Unicorn” and “Daming Prefecture” viewed in the area with the title of “Drama in China”. There is a match on the poster