本論文以上海《力報》舊劇副刊為核心史料，結合同時期相關報刊資料，研究1937年至1941年間孤島時期的上海的女子越劇、彈詞與京劇三種表演形態，及其在此一特殊時期的發展脈絡與文化意涵。目前民國戲曲史的學術成果，多著重於流派宗師或戲曲改革後的進步敘事，較少關注其中的市場機制與報刊書寫。本論文嘗試以報刊日常語境為研究材料，重新理解「舊劇圈」中「報票伶」之間的互動與交流。 研究方法上，本論文以《力報》副刊為主要材料，運用詞頻統計與文本分析，從演員、劇場、劇目與觀眾等層面進行量化與質性的分析，並輔以其他報刊與相關史料互證，以重現孤島時期舊劇展演的實際運作情形。 研究結果顯示，孤島上海在難民湧入、物價飛漲與金融投機並存的社會環境中，舊劇娛樂不僅是市民心理調適的重要方式，亦成為資本流動的重要場域。女子越劇在此背景下迅速崛起，舞台上由小旦當家轉為小生主導，展現出高度的市場適應力。相較之下，彈詞與書場則呈現出價格親民、運作靈活的特質，不僅為常民提供娛樂空間，也成為文人寄託情感的場所；彈詞女伶亦在此過程中有意識的自塑才女形象以回應聽客。至於京劇，則由緊密互動的「報票伶」一同構築出成熟的文化產業，此一網絡更進一步深化了「海派京劇」的特質；然而，亦有一些彼時活躍的人物未在後世民國戲曲史中獲得充分認識，本論文亦試圖加以補遺。 綜合而言，孤島時期的「舊劇圈」持續與娛樂市場、報刊媒體及社會脈動相互拋接過招，呈現生機勃發、活潑流動的運作樣貌。本論文透過連續的報刊記錄重現歷史現場，期能補足民國戲曲史較少觸及的面向，並有助於重新理解上海都市文化的多元樣貌。;This thesis uses the old drama supplement of the Shanghai newspaper Li Bao as its core historical source， combined with relevant newspaper materials from the same period， to study the performance forms of Yue Opera， storytelling with ballad singers， and Peking Opera in Shanghai during the solitary island period (1937-1941)， and their development and cultural implications during this special period. Current academic achievements in the history of opera in the Republican era mostly focus on the masters of different schools or the progressive narratives after opera reforms， paying less attention to the market mechanisms and newspaper writings involved. This thesis attempts to re-understand the interaction and communication between "ticket sellers" and "actors" in the "old drama circle" by using the everyday language of newspapers and periodicals as research material. Methodologically， this thesis uses the Li Bao supplement as its main material， employing word frequency statistics and textual analysis to conduct quantitative and qualitative analyses from the perspectives of actors， theaters， repertoires， and audiences. It also supplements these analyses with other newspapers and relevant historical materials for cross-referencing， in order to reconstruct the actual operation of old drama performances during the isolated island period. Research shows that in the isolated city of Shanghai， amidst the influx of refugees， soaring prices， and financial speculation， traditional opera entertainment not only served as an important means of psychological adjustment for citizens but also became a significant arena for capital flows. Against this backdrop， Yue Opera， particularly the female-led performances， rapidly rose to prominence， with the stage shifting from female leads to male leads， demonstrating a high degree of market adaptability. In contrast， storytelling and ballad singing were characterized by their affordability and flexible operation， providing entertainment for ordinary people and serving as a place for literati to express their emotions; female ballad singers consciously cultivated an image of talented women to resonate with their audiences. As for Peking Opera， a mature cultural industry was built through the close interaction of "ticket announcers，" a network that further deepened the characteristics of "Shanghai-style Peking Opera." However， some prominent figures of that time have not received sufficient recognition in later Republican-era opera history， and this paper attempts to fill this gap. In summary， the "traditional opera circle" during the isolated period continuously interacted with the entertainment market， newspapers， and social dynamics， presenting a vibrant and dynamic operating model. This paper reconstructs historical events through continuous newspaper records， aiming to fill a gap in the rarely touched-on aspects of Republican-era opera history and contribute to a renewed understanding of the diverse facets of Shanghai′s urban culture.
