對"光"這一要素在中國傳統戲劇舞臺空間中持續的、多角度的探討,海派京劇是開先河者。彼時的戲劇批評家對海派京劇的舞臺表現方式多持否定態度,認為這是一種淺層的、媚俗的商業性嘗試。然而,新的要素在舞臺空間中被運用和消化需要經歷漫長的探索過程。以"光"在海派京劇中的運用為切入點,通過史料文本的深入解讀可以發現,這一要素與舞臺空間、戲劇敘事的關系探索實際上經歷了從相互分離到逐步融合的過程,并最終達成了與其他要素的有機配合。"光"恰當地從屬于舞臺空間,與其他要素一同完成了對戲劇藝術這一整體的呈現。

The Shanghai-style Peking Opera could be considered a pioneer in the continuous and multi-angled discussion of the elements of lighting in the space of traditional Chinese Xiqu. Critics of Xiqu at that time mostly took a negative attitude towards the stage presentation of Shanghai-style Peking Opera, taking it to be a shallow and vulgar commercial attempt. However, the application and assimilation of new elements in the Xiqu space took a long time of exploration. Focused on the application of " lighting" is Shanghai-style Peking Opera, through in-depth interpretation of historical materials and texts, this paper reveals that the relationship between lighting on the one hand and stage space and Xiqu narrative on the other hand has actually gone through a process from separation to gradual amalgamation. They finally reach a comprehensive integration with other theatrical elements. Lighting is subordinate to the stage space and completes the wholistic presentation of theatrical art with other elements.