·中國(guó)京劇4大名旦

近代的天津，戲曲舞臺(tái)繁花似錦。其中京劇的形成，就與天津有重要關(guān)系。作為一個(gè)古老的劇種，京劇是徽調(diào)、漢劇進(jìn)入北京后，互相影響，并接受了昆曲、秦腔的某些劇目、曲調(diào)和表演方法，特別是吸收了天津調(diào)，而逐漸形成的。所以有人說： “徽音與天津調(diào)的混合，遂為京劇” 。
天津是北京的近鄰，為京劇的表演提供了舞臺(tái)，南北各派演員紛紛來天津登臺(tái)演出； 天津是個(gè)移民城市，“五方雜處” 的人口構(gòu)成，較少保守思想和傳統(tǒng)偏見，能夠兼容并蓄各派的不同藝術(shù)風(fēng)格； 天津是我國(guó)較早被迫開放的城市，工商貿(mào)易的發(fā)達(dá)，租界的建立，也使天津成為中西、南北文化交流樞紐； 平民觀眾的熱情豪爽，高層次文化人的精于鑒賞，以至外埠演員，希求在天津舞臺(tái)得到觀眾的認(rèn)可。如京劇第一代人物余三勝，被稱為 “須生之祖” ,就在道光二十三年(1843)來津獻(xiàn)藝，并轟動(dòng)一時(shí)。京劇第二代人物譚鑫培、汪桂芬等，更與天津有密切關(guān)系。所以京劇界流傳著這樣一種說法： “北京學(xué)戲，天津唱紅，上海賺錢?！?br>清宣統(tǒng)三年三月二十七日 (1911年4月25日),天津《商報(bào)》就刊載了4大茶園京都班的演出情況。一是開設(shè)于官銀號(hào)西的天樂茶園，特請(qǐng)京都鳳名班演出，早場(chǎng)由姜德祿等12位演員，演出《四盤山》等11出戲； 晚場(chǎng)由郭永山等12位演員，演出《斬黃袍》等12出戲。二是開設(shè)北大關(guān)東的協(xié)盛茶園，特請(qǐng)京都林發(fā)名班演出，早場(chǎng)由李萬成等12位演員，演出《廣大莊》等10出戲； 晚場(chǎng)由韓春廷等12位演員，演出《遇皇后》等10出戲。三是開設(shè)于河?xùn)|奧租界大馬路的全利茶園，特請(qǐng)京都長(zhǎng)勝和名班演出，早場(chǎng)由牡丹花、金玉娥、金鳳娥、金翠娥、禿亮紅等15位演員，演出全本《獨(dú)占花魁》等7出戲； 晚場(chǎng)由王少奎等14位演員，演出《草橋關(guān)》等10出戲。四是開設(shè)于南市平安大街的丹桂茶園，特請(qǐng)京都四喜名班演出，早場(chǎng)由王福全等14位演員，演出《戰(zhàn)北原》等11出戲； 晚場(chǎng)由盛玉奎等13位演員，演出《太平橋》等8出戲，并加演電影?？梢姰?dāng)時(shí)京戲名班在天津茶園演出之盛況。
特別是京劇4大名旦梅、程、荀、尚，以及京劇名家楊小樓、郝壽臣、高慶奎、馬連良等，演出新編劇目和他們改編出新的傳統(tǒng)劇目，都是先在天津試演，由天津觀眾認(rèn)可后，再到其他地方演出。在某種意義上說，天津觀眾的鑒賞情趣，影響著京劇藝術(shù)的走向。
近代天津京劇舞臺(tái)，還產(chǎn)生了自己的一代杰出京劇表演藝術(shù)家。被譽(yù)為“伶人十三絕”之一的劉趕三，本為中藥商，后棄商從伶，開天津票友下海之先，成為一代名丑。特別是京劇第二代人物孫菊仙，被天津觀眾親切地稱為“老鄉(xiāng)親” ,歷盡宦途坎坷而下海，學(xué)藝于“老三鼎甲”之一的程長(zhǎng)庚門下，工老生。以其黃鐘大嗓音，豪放蒼勁、渾厚樸實(shí)之風(fēng)格，紅極一時(shí)，與譚鑫培、汪桂芬，競(jìng)譽(yù)舞臺(tái)，被稱為“新三鼎甲” 。
此外，有的京劇名家，雖非天津人，卻長(zhǎng)期在津從事京劇藝術(shù)工作。如京劇作家、演員、改革家汪笑儂，被嚴(yán)修聘來天津主持“天津戲劇改良社” ,招學(xué)員百余人，造就了一代新型京劇演員。
由于天津京劇舞臺(tái)的繁榮，清光緒二十六年(1900),于北門里成立雅韻國(guó)風(fēng)社，為天津最早的京劇票房。著名票友有王君直、王頌臣等。

·譚鑫培、王瑤卿合演《汾河灣》

Opera was flourishing in modern Tianjin. The formationof Peking opera was closely related to Tianjin. As anancient opera of "Wei" tone,Peking opera was createdby Han opera absorbing Kun opera,Qin Opera,andespecially Tianjin opera,so it was said that "Pekingopera is the mixture of Hui opera and Tianjin opera".
Tianjin is the neighbour of Beijing,which providedthe stage for the display of opera. Actors from northand south performed in Tianjin. Tianjin was also acity of immigrants from everywhere,so it had littlebias and was open to different styles. As a city forcedto build concessions with prosperous industry andtrade,Tianjin became the platform for the cultures ofeast and west,north and south. Civilians were warm-hearted. Intellectuals had a good taste. Actors oftencame to perform in Tianjin for reorganization. In 1843,Yu Sansheng,the representative of the first generationof Peking opera,made a great success. Tan Xinpei andWang Guifen belonged to the second generation,whowere also popular in Tianjin. In the Peking opera circle,asaying went like this,"To learn in Beijing,to be popularin Tianjin,and to make money in Shanghai."
On April 25,1911,Tianjin Commercial Newspaperdescribed the grand occasion by the four Peking operatroupes performing in the tea houses. Firstly,Tianle TeaHouse at Guanyinhangxi invited Fengming Troupe. Inthe daytime,Jiang Delu and 11 actors performed "SipanMountain" and the other 10 operas. At night,GuoYongshan and 11 actors performed "Behead Yellow Rope"and the other 11 operas. Secondly,Xiesheng Tea Houseat Beidaguandong invited Linfa Troupe. In the daytime,Li Wancheng and 11 actors performed "Meet withEmpress" and the other 9 operas. At night,Han Chuntingand 11 actors performed "Behead Yellow Rope" and theother 11 operas. Thirdly,Quanli Tea House at Damaluin the Austrian concession invited ChangshenghemingTroupe. In the daytime,Mudanhua,Jin Yu`e,Jin Feng`e,Jin Cui`e,Tulianghong and 10 actors performed "TheFirst of Flower" and the other 6 operas. At night,WangShaokui and 13 actors performed "Grass Bridge" and theother 9 operas. Fourthly,Dangui Tea House in Ping`anRoad in Nanshi invited Sixi Troupe. In the daytime,WangFuquan and 11 actors performed "Beiyuan Battle" andthe other 10 operas. At night,Sheng Yukui and 12 actorsperformed"Taiping Bridge" and the other 7 operas. It alsodisplayed films. All of these exhibited the popularity ofPeking opera in Tianjin.
Tianjin cultivated many excellent master artistsof Peking opera. Liu Gansan was praised as one of the13 best artists. As a fan of Peking opera,he stopped hisChinese medicine business and was the first amateurthat became a master in Tianjin. Sun Juxian resigned hisposition from the government and learned performingfrom Cheng Changgeng. His voice was broad andvigorous. He was praised by audience as "Old CountryFellow". Sun Juxian,Tan Xinpei and Wang Guifen werethree best masters of the second generation of Pekingopera.
There were also some masters of Peking opera,who were not born in Tianjin,but devoted themselvesto Peking opera in Tianjin,such as Wang Xiaonong.As a writer,actor and reformer of Peking opera,he wasinvited by Yan Xiu to be the chairman of "Tianjin OperaReform Association",which enrolled about 100 studentsand cultivated many new-style actors of Peking opera.
With the flourishing of Peking opera in Tianjin,Yayunguofeng Association was set up at Beimenli in1900. This was the first Peking opera association inTianjin. Wang Junzhi and Wang Songchen were itsfamous members.

·楊小樓演《蓮花湖》