|
 |
第2号
吉川 良和 Yoshikazu Kikkawa王鐘声事蹟二攷
On the Life of Wang-Zhongsheng - a revised and enlarged version of my previous study
2007年03月 発行
[ 要旨 ]
この論文には日本語要旨はありません
[ Abstract ]
In 1907, just about 100 years ago, the first ever modern Chinese drama was performed in Tokyo by Chinese students studying in Japan. In autumn of the same year, the first ever modern drama in China was performed by Wang Zhongsheng in Shanghai. However, it seems as though many scholars do not recognize the value of Wang’s performance because elements from traditional plays remained vividly in Wang’s modern drama and his play was seen as propaganda for revolution. Wang utilized the form of traditional plays in order to convey a message because he performed message plays. At the time, the form of modern drama did not exist anywhere in China, therefore, a first ever training facility called “Tongjian school” was established in China, where there were no actors to perform modern drama. Through various attempts and trial and error, there was a gradual transition to pure modern drama. The aim of this paper is to examine the struggles, accomplishments and influence of Wang, who performed the first ever modern Chinese drama in Shanghai, Jiangnan, Hankou, Tianjin and Beijing, the cradle of Beijing opera, not the drama performed by Chinese students studying in Japan who were taught pure modern drama that was not accompanied by songs or dance by Japanese people. Wang performed during the “Guangxu xinzheng” of the late Qing period, in between the Emperor Guangxu’s opening up policy and the revolutionary movement against the Qing Dynasty. In other words, Wang tried to “educate” the audience about new ideas through the words of the characters. Around this time, intellectuals and statesmen all agreed to utilize plays to improve the low rate of literacy among the masses. During this period, many people paid respect to Wang Zhongsheng and praised the modern drama that advocated women’s liberation and carried out justice. Moreover, Wang promoted studies and research on new ideas, acting and costumes, and brought in a new type of empty stage and background similar to a Japanese Noh stage, and lighting techniques, which had a great effect on plays in the coming ages. However, Wang Zhongsheng was executed in Tianjin in December 1911 for participating in the revolutionary movement. Wang’s short lived accomplishments achieved in 4 years had a definite and great impact on the history of modern Chinese plays and drama, however, many of his accomplishments have been verified through memoirs of his acquaintances. This paper illustrates the situation and content of the plays, audiences’ reactions and the chronology of his life up to his execution, by using primary sources such as newspapers of that time and based on the author’s previous study written 30 years ago.