1909 年4 月，晚清著名的「新劇」演員王鐘聲北上天津演出造成轟 動。王鐘聲為北方社會帶來上海最流行的劇目、表演風格和舞臺布景。為了 順利上演王鐘聲的新戲，天津各大戲園陸續進行整修改建，以適應王鐘聲的 新式戲劇和舞臺布景。本文透過《大公報》、《中外實報》、《順天時報》等北 方重要報刊，考察王鐘聲在天津的演出活動軌跡，並探討王鐘聲北上天津演 出時，其背後所象徵的海派演劇文化是如何影響北方戲曲界的生態環境。 1910 年1 月，王鐘聲在北京天樂園打出「鐘聲新劇」的招牌，最終得以形成 具有個人特色的「鐘聲新劇」。在天津演出的這段時期，或許可以視為上海演 劇文化進入北方社會後，調適與融合的重要階段。

In April, 1909, the famous late Qing actor, Wang Zhongsheng’s debut on the stage of Tianjin caused quite a sensation. He introduced Shanghai’s most popular repertoire, performance style, and stage setting to the north. In order to stage Wang’s new play, the Tianjin theatre houses, one after another, either renovated or reconstructed their theatre houses so as to better accommodate Wang’s requirement of stage setting. This paper traces Wang’s acting activities in Tianjin, using important northern newspapers such as Dagong Bao, Zhongwai Shibao, and Shuntian Shibao, and explores how the Shanghai-style opera culture, embodied by Wang Zhongsheng, influenced and changed the performing environments in the north. On January 25, 1910, Wang Zhongsheng launched the “Wang Zhongsheng’s New Drama” (鐘聲新劇) at Tianle Theatre (天樂園) in Beijing. Wang Zhongsheng’s New Drama during his Tianjin period is an important stage for the Shanghai-style opera culture to integrate and accommodate itself to northern society.