近代上海京劇票界的生成

The Form of Peking Opera’s Piao Community in Modern Shanghai

上海票房完全移植北京票房作為學戲場域的經驗進而開始輸出京劇人才，不只緩和了上海劇界緊繃的操盤神經，更將傳統「票房科班」在收取「會費制」後質變為「票房俱樂部」，票友的定義和組成成份遂放寬、擴大。票友入票的目的受上海都市的社交性格影響，從原先只想登臺學戲的個人化取向擴展為亟欲開拓社會人脈、實際參與現代社會的集體意識。「票界」正是在上海推波助瀾下所形成，一方面是由南北之間自地理空間相互遷徙而來的國族想像之發端，一方面也是運用媒體的實際操作，加諸票房的分系連鎖經營，便產生了「從房到界」的京劇生態空間的壯大景像。進入民國後的新時代，名伶們不用再為宮廷所徵召，雖內廷供奉提高了演員的社會地位，但也同時高舉了名伶「自有靠山」的無形冠冕。皇權的完結，反倒讓票友得到一展長才崛起的機會，運用他們的文化資本取代了宮廷的位置。當「票友捧伶」成為一種民國時期的常態，他們不但脫離了晚清票友「下海」分食伶人市場的競爭關係，進而成為一種互相形塑、照應的尊崇合作關係。《申報》也終於開始增多對票房和票友的新聞，可見「票界」勢力已然浮上檯面。

By importing the Peking amateur society (piao fang 票房) as the site for learning acting, and by turning out talents in Peking Opera, the amateur societies of Shanghai not only eased the commercial tension in the Shanghai theatrical world, but also qualitatively changed the amateur society from an old-style private association, to one based on the collection of tuitions that is a club. As a result, the definition and composition of theater connoisseurs (piao you 票友) became much wider. Due to the social scene in Shanghai, theater connoisseurs joined these communities no longer for the personal pursuit of performing on stage, but in order to expand their social networks and partake in the collective consciousness of modern society. The theater community of amateurs (piao jie 票界) took form with the influence of Shanghai, partly due to the beginning of an imagined nation following the trans-migration across geographical spaces, from north to south; and partly due to the practical use of media, even the sub-chain management system. This resulted in the magnificence of the theatrical world, from amateur society to community. Under the new Republic, professional actors were no longer summoned by the imperial court. Previously, such summoning elevated the status of the actors and bestowed on them the invisible honor of patronage. With the end of the imperial era, theater connoisseurs saw their chance to show off their talent and replace imperial patronage with their cultural capital. As their sponsorship of the actors became the norm during the Republican Era, connoisseurs not only freed themselves from the role of competing against professional actors in the market, but also developed a partnership where they shaped and looked out for one another. Shen Bao finally began to increase its coverage of news related to amateur societies and theater connoisseurs, an indication that the influence of the theater community of amateurs was on the rise.