·1926年南開新劇團演出易卜生的《人民公敵》

戲劇門類的碰撞，不單是中國民族戲劇的碰撞，還有中西方戲劇藝術(shù)的碰撞，這種碰撞所導(dǎo)致的相互吸收、滲透和融合，也孕育出了新的表演藝術(shù)的胚胎，這就是中國的話劇。
我國的話劇是從外國移植過來的，所以稱“新劇” ,也稱“文明戲” 。它的引入渠道主要有兩條，這兩條渠道都是由天津人搭設(shè)起來的。
一條渠道，是以上海為中心流行南方的話劇，通過李叔同創(chuàng)立的 “春柳社” ,從日本間接移植到中國。光緒三十二年(1906),考入東京美術(shù)學(xué)校西畫科的李叔同，也到附近音樂學(xué)校聽課，兼學(xué)鋼琴與作曲。這年底，由李叔同、曾孝谷發(fā)起，成立了戲劇團體“春柳社” 。并在光緒三十三年(1907)公歷2月13日，中國農(nóng)歷春節(jié)，首次上演了小仲馬的名劇《茶花女》,李叔同在劇中扮演主人公茶花女瑪格麗特。由此，“中國放了新劇最初的烽火” 。隨后，李叔同與歐陽予倩等，參加話劇《黑奴吁天錄》的演出，李叔同仍男扮女裝，出演愛美柳夫人。時在東京的魯迅，慕名特意前去觀看了演出。
“春柳社”的成員陸續(xù)回國后，成為上海戲劇界的領(lǐng)袖人物，推動了我國早期話劇運動的發(fā)展。光緒三十四年(1908)冬，王鐘聲從上海率團來到京津，和天津“移民樂會”共同研究戲劇改革，創(chuàng)立了一流劇場大觀新舞臺文明戲園 (后來的大觀樓，舊址在北馬路天津電影院),并在一個月中演出《緣外緣》等7種劇目；還在下天仙戲院(人民劇場),演出《秋瑾》等多種愛國戲。王鐘聲不僅是就義于天津的辛亥革命烈士，而且為南北兩派話劇藝術(shù)的融合，起到很大作用。
另一條渠道，是以天津為中心流行北方的話劇，通過南開新劇團從歐美直接移植到中國。南開學(xué)校的新劇，曾經(jīng)風(fēng)姿照人地影響著天津的話劇舞臺。光緒三十四年(1908),南開校長張伯苓赴歐美考察歸來后，就著手編寫新劇。宣統(tǒng)元年(1909),在南開學(xué)校成立5周年紀念會上，演出了張校長編導(dǎo)的新劇《用非所學(xué)》,張校長并飾演主要角色。
此后，每逢周年校慶，南開都要編演新劇目，天津的大中學(xué)校和專業(yè)劇團，紛紛效法。魯迅對此十分重視，1912年6月，他親來天津考察；11日晚，在廣和戲樓看了新劇《江北水災(zāi)記》,給予中肯的評價和鼓勵。
1913年，周恩來考入南開學(xué)校后，便積極投身南開的話劇運動； 轉(zhuǎn)年3月，在其組織成立的“敬業(yè)樂群會”下，設(shè)立了 “演劇團”。演出了獨幕話劇《五更鐘》,并在《校風(fēng)》上，發(fā)表了《吾校新劇觀》一文?！安粌H奠定了南開新劇發(fā)展的理論基礎(chǔ)，也是中國現(xiàn)代話劇理論的開篇之作” (夏家善等《南開話劇運動史料》 )。
1914年11月，南開新劇團正式成立，周恩來為布景部副部長。1916年，張伯苓胞弟張彭春擔(dān)任新劇團副團長，并直接、系統(tǒng)地把西方戲劇理論和編導(dǎo)藝術(shù)介紹過來，使南開新劇團獨具特色。這年底，他還指導(dǎo)排演了其在美國創(chuàng)作的寫實劇《醒》,比中國現(xiàn)代文學(xué)史上所謂“第一部話劇劇本” 《終生大事》 (胡適1919年發(fā)表),早了3年。
當時的南開，成了天津話劇活動的中心，其影響涉及到華北、東北，既推動了中國北方的話劇運動，又推進了南北話劇的互相匯合，而南北話劇的交會、融合，形成了中國早期的話劇藝術(shù)。
南開話劇活動，還促成了天津最早的戲劇月報《春柳》的創(chuàng)刊。南開新劇引起了廣大觀眾的歡迎和文化名流的關(guān)注，一些重要報刊紛紛加以報道和評論。如《益世報》就進行了多次長篇報道。
1927年夏，南開師生排演了《壓迫》、《獲虎之夜》、《可憐的斐迦》等獨幕劇，主要演員有萬家寶(曹禺)等。雖然萬家寶男扮女裝，其演劇天才卻被公認。1928年秋，南開學(xué)校同其他學(xué)校學(xué)生組織了“虹社” 。1929年南開學(xué)校建校25周年紀念，演出了改譯的話劇《爭強》,萬家寶飾演鐵礦董事長。特別是，由此開始，南開新劇團有了女演員，如張英元、王守瑗、沈希詠、張家印等。并且動用燈光技術(shù)增強戲劇效果，從此南開劇團成為現(xiàn)代化劇團。
1930年，組織現(xiàn)代劇社的陶子權(quán)，演出了《群鬼》,盡管成績欠佳，卻是天津話劇的第一次正式公演。從此，南開新劇團沖出了學(xué)校的范圍，登上了社會的舞臺。到1934年，天津的劇團有： 孤松劇團、曉露劇社、矛盾社(分文藝、戲劇兩部分) 、春草劇社、鸚鵡劇社、微沫、南開新劇團、化外劇團等等。話劇藝術(shù)成為天津戲劇舞臺嶄新的奇葩。
隨著戲劇運動的發(fā)展，天津戲曲教育組織也相繼成立。1913年3月27日，改良戲曲練習(xí)所舉行開學(xué)典禮，教育司長蔡儒楷、戲曲練習(xí)所所長汪笑儂出席并講演； 課程有喉音練習(xí)、詞令、戲曲講義、劇文、說白、體操等； 5月25日，天津藝曲改良社成立，以改善舊詞曲，創(chuàng)編新戲曲為宗旨； 6月15日，天津藝人聯(lián)合組織的正樂育化會，在李公祠舉行成立會，汪笑儂任會長，辦事處設(shè)在東南角大悲庵內(nèi)。
戲劇舞臺的變遷，戲劇文化的發(fā)展，充分顯示了天津歷史文化多元化的特征，與時俱進的品格，以及江南文化與北國文化融合、高雅文化與民俗文化互補、傳統(tǒng)文化與現(xiàn)代文化交會、民族文化與外來文化兼容的燦爛輝煌。
The operas of China and overseas absorbing from eachother created a new style of arts: Chinese Drama.
Drama in China was transplanted from foreigncountries,which was called New Opera or CivilizedDrama. It was introduced to Tianjin by two channels.
Firstly,drama popular in south China centered inShanghai was transplanted from Japan by Li Shutong`s"Chunliu Drama Association". In July,1906,Li becamea major in western oil painting in Tokyo Painting Schoolas the top student of all the oversea students of paintingfrom China. Meanwhile,he went to attend lectures at amusic school and learned piano and music composition.At the end of 1906,he and Zeng Xiaogu created ChunliuDrama Association. On February 13,the spring festival,Chunliu Drama Association performed Camille byDumas A. Li Shutong acted as Magret,the protagonist.It achieved great success. Students from China andoverseas were active to join in the Association,includingOuyang Yuqian. Li Shutong played Ms Amelia in thedrama of Uncle Tom`s Cabin. Lu Xun went to watch theperformance in Tokyo.
The members of Chunliu Drama Associationreturned to China as the leaders of Shanghai dramacircle,which promoted the early drama in China. Inthe winter of 1908,Wang Zhongsheng led his teamfrom Shanghai to Beijing and Tianjin. They discusseddrama reform with Tianjin Immigrant Association,builtWenming Theater of Daguan (now Daguan Building,thesite of Tianjin Cinema at Beimalu),performed 7 dramasincluding Luck Beyond Luck in a month,and playedsome patriotic dramas including Qiu Jin at XiatianxianTheater. Wang Zhongsheng,the martyr of XinhaiRevolution in Tianjin,played an important role for themerger of south and north dramas.
Secondly,the drama popular in north Chinacentered Tianjin was transplanted from Europe andAmerica by Nankai New Drama Troupe. The new dramaby Nankai School exerted great influence on Tianjindrama. In 1908,Zhang Boling returned after inspectionof Europe and America and began to compile newdramas. In 1909,his drama Not Using What Learnedwas performed at the fifth anniversary of Nankai School.Principal Zhang acted as one of the protagonists.
On each anniversary,Nankai School played newdramas. The schools and troupes followed suit. Lu Xunthought much of Tianjin drama. In June,1912,he wentto Tianjin for investigation. In the evening of 11,hewatched The Flood of North River at Guanghe Theaterand praised the performance.
In 1913,Zhou Enlai was enrolled in Nankai Schooland devoted himself to Nankai drama. He set up DramaBranch in Jingyelequn Association and performed one-actdrama Knock of Fifth Jing. In School Spirit,he publishedMy View on New Drama in Nankai School,which was"not only the theoretical basis of Nankai`s drama,but alsothe breakthrough of drama theory in China". (The Historyof Nankai Drama by Xia Jiashan,etc.)
In November,1914,Nankai New Drama Troupewas set up. Zhou Enlai was the deputy director of thescene department. In 1916,Zhang Pengchun,ZhangBoling`s brother,was the vice president of the troupe,who introduced western drama theory and directing artto Tianjin. At the end of 1916,he rehearsed Wakeningwritten in America,three years earlier than Hu Shi`sLifetime Event in 1919,the so-called "first drama play".
Nankai,as the center of Tianjin drama,exertedinfluence on north China and north-east China,whichpromoted the popularity of drama and the fusing ofdramas of north and south China. This was the creationof early drama in China.
Nankai started the publication of Chunliu Journal,thefirst monthly drama journal in Tianjin. Nankai dramas werepopular among the audience including elites of culture.Many newspapers reported and commented on them. YishiNewspaper wrote many long articles on them.
In the summer of 1927,Nankai rehearsedOppression,The Night of Catching Tiger,Poor Kennan,and other one-act dramas. Wan Jiabao (Cao Yu),theleading male cast,played female roles and was praisedby all. In the spring of 1928,Nankai Shool set upRainbow Association with other schools. On the 25thanniversary of Nankai School in 1929,Nankai Troupeplayed the translated drama Competition. Wan Jiabaoacted as the chairman of an Iron Ore Company. Thefemale characters were played by actresses such asZhang Yingyuan,Wang Shouyuan,Shen Xiyong,ZhangJiayin,etc. Light techniques were used to reinforce thestage effects. Nankai Troupe became a modem one.
In 1930,Ghost Group by Tao Ziquan of ModernTroupe,the first public drama in Tianjin,did not achievesuccess. Nankai troupes began to play drama for thesociety instead of for the school.by 1934,troupes inTianjin were: Gusong Troupe,Xiaolu Troupe,MaoduTroupe (literature and drama),Chuncao Troupe,YingwuTroupe,Weimo,Nankai Troupe,Huawai Troupe,etc.Drama became a new flower on Tianjin stage.
The history and development of drama reflected thesplendid Tianjin cultures,which advanced with time toassociate with the cultures of north and south,elegantand folk,traditional and modem,domestic and overseas.
Tianjin drama education organization was set upwith the development of drama activities. On March 27,1913,Reformed Opera School conducted the openingceremony with the present of Cai Rucai (Minister ofEducation Department) and Wang Xiaonong (Presidentof Opera School). It provided courses of tone practice,poetry,opera compiling,speech and gymnastics. OnMay 25,Tianjin Opera Reform Association was set up.Its major tasks were adapting old rhythm of opera andcompiling new ones. On June 15,Zhengyue CultivationAssociation was set up by Tianjin actors at Ligongci.Wang Xiaonong was the president. The office waslocated at Dabei Temple at Dongnanjiao.

·演出新戲