十九世紀下半葉法國戲劇舞台上的中國藝人

Chinese Performers in French Theater in the Second Half of the Nineteenth Century

中國戲曲文本之西傳，可上溯至十八世紀由馬若瑟神父法譯之《趙氏孤兒》。然而直至十九世紀中英鴉片戰爭之後，中國表演藝人才逐漸為歐洲觀眾所認識。本文藉由報刊、檔案的整理與考察，企圖探索十九世紀下半葉法國戲劇舞台上的中國藝人活動。研究時間從一八五一年「南京玫瑰」及其戲班的演出開始，至一九○○年巴黎萬國博覽會上的中國雜技表演為止。全文涉及之藝人，包括雜耍與馬戲演員、音樂表演者、戲曲伶人與劇本創作文人等。演出模式則包括戲班巡演、個人演出、商業劇院演出，以及展覽會性質的示範展演等。除了徵引法文史料之外，本文亦參酌同時期中國外交官之旅歐筆記與相關出版，藉由東西方文獻的對照比對，進一步補充前人研究尚未發掘之材料，並試圖釐清相關戲曲演出之疑點。

Since the eighteenth century, Chinese drama has been known to European readers because of Prémare’s French translation of The Chinese Orphan [Zhaoshi guer]. However, no Chinese performers have been found on French professional theater stage before the First Opium War (1838-1842). In this paper, I have examined the Chinese performers’ activities in French theater in the second half of the nineteenth century. Based on archives and contemporary newspapers, my research begins from the program of the “Rose of Nanking” in 1851 and ends with the Chinese acrobatic show in the Exposition universelle in 1900. The research objects include Chinese jugglers, acrobats, musicians, actors and playwrights. The types of their performances consist of theater companies’ touring, individual presentations, commercial shows, and performances given in (colonial) exhibitions. In addition, I have consulted Chinese diplomats’ travelling notes, in which they have mentioned their Chinese compatriots’ performances in Europe. Through a cross-reading of these documents and writings, I have tried to explore the details of the performers and performances concerned.