所謂「近代」(西元1840年鴉片戰爭起至西元1919年五四運動止)，是一個空前動盪的時代，舊有的制度和觀念面臨崩潰，西方的、新奇的事物又排山倒海而來，在這個既矛盾又複雜的時空下，文學現象自然是豐富多變，甚至別開生面。 在近代眾多文學種類和文學現象當中，戲曲這種立即反映社會人心的綜合藝術，無可避免地跟隨時代脈動而起舞，例如雜劇、傳奇因著崑曲的沒落走上末流；各個地方戲曲爭奇鬥艷；此外像話劇，也在近代開始興起....這些都是「近代」這個中西文化衝擊背景下孕育出的新興生命，在戲曲文學史上亦有著承上啟下的關鍵作用。 本文試圖將中國戲曲文學史中屬於近代的戲曲演進、轉變作一全面性的關照，但因這個部分與當時的戲曲理論、戲曲觀念以及戲曲改良運動密不可分,而且還受到西方戲劇美學及話劇傳入的影響,其中糾結複雜的牽引,正待梳理和釐清。因此，本文從近代的背景出發，說明其時代的特殊性，並分門別類論述各劇種的發展概況，然後針對戲曲及戲劇理論的變革進行整理與闡釋，企盼能藉此一窺近代劇壇的全貌，了解其在中國戲曲史甚或文學史這一歷史長河中的意義與價值。 The“Modern Age"-from the 1840 Opium War to the 1919 May Fourth Movement, is a time of unprecedented instability. The old systems and ideology collapsed while the new Western culture swept the society. At this juncture, the literary phenomenon became versatile and even opened to innovation. Chinese Opera is an art form that mirrors the socia1 phenomena. Among al1 modern literary forms and phenomena, Chinese Opera inevitably danced to the pulse of time.“Tzar Jiuh"(variety show)and“Chwan Chyi"(legend)became later adherents as “Kun Chu" came to an end. Regional opera shows from all parts of the country competed for their creativity and popularity. In addition,“Hua-Jiuh"(play)also erupted from the Modern Age. When the Chinese culture clashed with its Western Counterpart, the“Modern Age" not only created all these new faces for Chinese Opera but continued its evolutionary process. This article is devoted to the evolution and transformation of modem Chinese Opera from the literary history of Chinese Opera. However,the theory, ideology and reform movement of Chinese Opera are inseparable and should be included in the discussion. Further, western drama and esthetics also affected Chinese Opera. This article will clarify the complexity of the historical background of Modem Age, categorize the development of different operas, and then explain the reformation of Chinese Opera and drama theory. Hopefully, this article will reflect the value of modern Chinese Opera in the history of Chinese Opera or Chinese Literature.
