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与新闻记者和报刊自由撰稿人相比,戏园子看客、堂会主人是票友族群的主体,这些票友的构成大多是有闲又有钱的人士,其中松散地聚集在梅兰芳周围,帮助其攒戏、策划的以“缀玉轩”为核心的文人却更深刻地影响和引领着梅兰芳的表演创新走向。梅兰芳排演新戏的“创新”具有两面性,既可能是对传统的突破,也可能是对传统的相伤。他的这种“创新”表面上是为了迎合商业都市趋新趋时的时尚心理,实际上落脚点却是维持戏班生存的票房收入。而报刊出版借助引导手段提高梅兰芳票房收入的同时,在客观上也对近现代戏曲艺术变革的走向,尤其是以梅兰芳为代表的旦行艺术主导地位的确立,都起到了极大地推动作用。
Compared with journalists and journalistic freelance journalists, the theater sub-audience, the main hall is the mainstay of the group of voters, mostly composed of leisure and wealthy people, loosely gathered around Mei Lanfang to help them Save play, planned to “Jade Decoration Jade ” as the core of the literati has a more profound impact and lead Mei Lanfang’s performance innovation direction. Mei Lanfang rehearsed the new drama “innovation ” has the dual nature, either on the traditional breakthrough, it may be a trauma to the tradition. His “innovation” is ostensibly designed to cater to the stylish psychology of the trend of a metropolitan business. In fact, the foothold is to maintain the box office income of the troupe. While the newspaper and publishing has improved Meilanfang’s box office receipts by means of guidance, objectively speaking, the trend toward the change of modern Chinese opera art, especially the establishment of Danyang art with Mei Lanfang as the representative, has played a tremendous Promote the role.