Shanghai Funny Dynasty

As a form of theatre performance with special features, Huaji滑稽has a long history. The Huaji in Shanghai has had a rapid development from the beginning of 20th century. Embracing all and incorporating things of diverse nature, Huaji formed its distinctive performance style of farce and is widely received by the audience in the south area of Changjiang River. This discourse is a review and discussion on the history of almost 100 years of Shanghai Huaji's performance.In the first part of the discourse, the sorting out of Huaji performance during the period of the Republic of China is first about Quju趣剧, which has Huajixinxi滑稽新戏and Dujiaoxi独脚戏as the two types. The beginning of the analysis of this part is Quju's origin from Wenmingxi文明戏and its evolution in amusement parks and then is the emerging and booming of Dujiaoxi. Then, this part takes three kinds of Huaji performance called Tanghui of Huaji滑稽堂会, films and broadcast of Huaji and, stage performance of Huaji as the object of study. Huaji is then sketched and there is also a discussion on the opportunities and puzzlements of Huaji performance when it was combined with new carriers. Then, the discourse focuses on the active and complex performance condition of Huaji actors and actresses, because Huaji theatre is the direct cause of"Huajixi"滑稽戏. Being different from some other studies which may ignore the"big"performance of Huaji on stage during the middle and the late period of 1930's, this discourse pays a close attention to the problem mentioned above and believes that it was since then that Huajixi had taken the shape.The second part is about the performance history of Huaji after 1949.The process of this part is in accordance with the clue of time and this part is divided into three stages: from 1950's to 1960's, from the end of 1970's to the end of 1980's, from 1990's until now. We may find the orbit of the development of Huaji performance which lasts for 50 years and we may also find its features in different periods according to the recounting of historical materials, the analysis of performance and the comment on a list of important plays of Huaji. The main clue of this part is how the environment of cultural ecology which is constructed by the elements like politics, audience and new media has affected the performance of Huaji and how the world of Huaji modulates itself and adapts to the environment.The concluding remarks of this discourse is the discussion on the problems about the styles and features, regional flavor, ways of creation and aesthetic value of Huaji performance. What would be emphasized is that the style of farce is the source of Huaji's vitality. Like its gaudy local colors, the preservation of Huaji performance depends on the leniency and support of the society. To make people laugh is the target of Huaji, thus the special characteristics of Huaji performance came into being. So Huaji performance should be created in specific ways. At the same time, Huaji performance need affirmative appraisals because it reflects the aesthetic standards of common people.