1910-1940年代「戲迷傳」的跨文類傳播現象與迷文化

The Cross-Genre Dissemination Phenomenon of ''Ximizhuan'' and Fan Culture in the 1910s-1940s

本文關注1910-1940年代「戲迷傳」一詞在長短篇小說、戲曲演出、報刊專欄、時調各文類中廣泛使用，且共享同一內涵脈絡的流行文化現象。
《戲迷傳》為1910年代開始流行之京劇劇目，因唱功門檻高，歷來有以老生反串的慣例。劇述一戲迷自幼嗜戲，無論何人跟他說話，都會依照情境或諧音回應知名唱段、唸白與身段。全劇賣點在於展現多種行當功法的「串戲」形式，以及仿效名伶經典段落，引發戲迷共鳴。亦即，此劇之審美具有一定的後設語境。
本文發現，「戲迷傳」除了作為京劇劇目為人熟知，亦有諸多同名／近名之「串接戲名」小說，與串戲信手拈來，二次創作（derivative work）的形式相互呼應，是戲迷自我宣示迷情的作品。民初面目模糊的市民戲迷們，透過新媒介相互唱和，廣泛見於同時期各類曲藝、報刊、電影當中，將迷文化（fandom）的自陳剖析公共化，有共識地塑造自身形象，並抬升戲曲的地位。
總結而言，處在戲曲文本與戲迷觀賞視角之間的「戲迷傳」，已超脫一個故事的範疇，成為戲迷自我論述、評價戲迷文化時慣常援引的資材。「戲迷傳」被大量援引、成為流行風潮的特殊案例，顯示出一種不同於清代的「戲迷形象」，屬於城市消閒文化中新興戲迷的自覺樣貌已然形成。

This article attempts to present the popular cultural phenomenon of the 1910s-1940s, in which the term ''Ximizhuan'' was widely used across short and long novels, Peking Opera performances, newspaper columns, and current affairs, all sharing a common cultural context.
''Ximizhuan'' was a popular Peking Opera play in the 1910s. Originally performed by Chou丑(clown role), it later performed by Lao Sheng老生(elder male role) due to the high demands of the singing skills. The storyline follows a Peking Opera fan who has been obsessed with plays since childhood. No matter who speaks to him, he responds with well-known lyrics, dialogues and movements according to the situation or the harmony of the words. The appeal of the play lies in the“chuanxi”串戲format, which demonstrates the various techniques of different roles, as well as the imitation of iconic scenes from famous performers, resonating with the theatergoers. In other words, the aesthetics of the play possess a certain metadrama context.
''Ximizhuan'' is well known as a Peking Opera play. In addition to this, there are many novels with titles identical or similar to ''Ximizhuan.'' These novels echo the form of derivative work of the“chuanxi”, and serve as works of self-declaration for theatergoers’fandom. In the late Qing and early Republic years, the indistinct public fans of Peking Opera were responding to each other through the new media, and were widely seen in all kinds of plays, newspapers, magazines, and movies at the same time, publicizing the self-presentation of fandom, consciously shaping their own image, and elevating the status of Peking Opera.
To summarize, ''Ximizhuan'' which is situated between the text and the theatergoers’perspective, has gone beyond the realm of a story and has become the material that theatergoers often invoke in their self-discourse and evaluation of fans culture. This popular trend has shaped the image of the Peking Opera fans different from that of the Qing Dynasty, and further solidified the self-consciousness of the emerging Peking Opera fan in urban leisure culture.