聽覺傳播媒介對近現代京劇美學的影響：以唱片、廣播為討論核心（1903-1940）

Abstract

20世紀初唱片、廣播逐漸滲入世界各地大眾的日常生活。京劇作為彼時中國的流行娛樂，也多與之結合，成為聽覺傳播媒介的主要內容。當京劇透過唱片、廣播傳播後，勢必受到媒介形式的影響，產生美學方面的變化。此變化不僅是京劇範疇的，也擴及到演員、票友及一般受眾的接受心態，亦即，這是關乎人類感知模式的美學變化。

本文所謂「美學」，是根據 aesthetics 此詞本身聯繫著希臘語詞根 αἴσθησις，強調感覺的表達與感受的能力。所以本文將不著重討論已有豐贍成果的聲腔創發、舞美燈光、具體表演形式變化，而更強調從社會文化（包含技術發展）的宏大視角開始，漸次討論受眾感知、媒介中的京劇藝術性、演員調適、觀演關係變化等相對抽象的美學問題。研究約可分為三個層次：首先綜述1903至1940 年代近現代京劇與聽覺傳播媒介的接觸史；繼而以荀慧生、馬連良、周信芳三位分屬旦行、老生行及京海派的演員為個案，聚焦討論演員如何運用唱片傳遞京劇藝術，又或批判唱片對舞臺表演造成的影響；最後，則以媒介形式為出發點，援引 1940 年代戲劇刊物上常見的，以廣播轉播之京劇為評論對象的劇評，討論受眾利用新媒介聆賞京劇時審美重心的變化。

本文以為，唱片、廣播雖然確實使京劇更傾向娛樂，削弱了一定的藝術性，但在演員與受眾自覺的運用下，仍可以嚴肅的傳遞／接收藝術，使之成為舞臺的延伸，媒介與舞臺二者能夠良性的相互展延。此外，聽覺傳播媒介可留存、廣泛傳播的特質亦促使結合舞臺、報刊、唱片廣播的京劇宣傳生態產生，使京、津、滬三地的京劇資源更加流通。最後，雖然媒介起初確實造成了京劇藝術性的動搖與消殞，但在適應了新媒介以後，演員與受眾不再被動的為媒介框限，而是以媒介的特質為立基，發展出更多元的創作方式與欣賞選擇。

In the beginning of the 20th century, record and radio had gradually integrated into people’s daily lives. Peking Opera（京劇）, as a genre of popular entertainment in China, had been produced in auditory media as well. The characteristics of auditory media changed Peking Opera per se and its aesthetics, including the performances and people’s perception modes which belong to the performers, the audience, and the piaoyou（票友）.

This research firstly illustrates the history of how Peking Opera connected with auditory media in the 1900s to the 1940s. It takes Xun Huisheng（荀慧生）, Ma Lianliang（馬連良）, and Zhou Xinfang’s （周信芳）cases for example, discussing how the performers applied auditory media to interpret the traditional art, since the three performers can represent several important parts of Peking Opera, including danhang（旦行） and laoshenghang（老生行）, Peking Style（京朝派） and Shanghai Style（海派）. In addition, this research presents the change of how the audience appreciate Peking Opera in auditory media by analyzing some dramatic criticism in the 1940s.

In conclusion, although auditory media made Peking Opera tended towards entertainment and decreased the level of art, the conscious behaviors of the performers and the audience are still able to spread and experience art seriously, turning those auditory works into the extension of a physical stage. Besides, auditory media allow the sounds can be safely stored and widely transmitted, leading to a rise in new promotion strategies and giving the performers and the audience new options to create and appreciate Peking Opera.