師承松旭齋天一（1852-1912）的日本女魔術師松旭齋天勝（1886-1944），以美貌與技藝精湛聞名，她在1911 年自組天勝一座，演出遍及東亞與美加等地。1913 年7-8 月，上海方面邀請該團到張園劇場演出，返日後不久，馬上被得利公司再邀到新新舞臺開演。1914 年8 月起該團又到上海張園、新民社原址演出近兩個月。上海以「天勝娘（孃）」來稱呼天勝，她引起上海魔術的風潮，後有魔術師天左、第二代天一假冒「天勝娘之師」名義宣傳。1926 年天左帶冒牌的「天勝娘」來上海，1931 年則帶來「新天勝娘」，日本的「偽天勝」在1934 年天勝宣布將退隱後層出不窮，但上海更早就出現「偽天勝」。天勝一座等團體的演出，激發中國人想要表現本國魔術不輸外國的好勝心，許多外國魔術師的宣傳也以「天勝娘」為比較對象。不過比起北京觀眾會以全面抵制日本演藝團體來報復日本的外交施壓，上海觀眾則以節目的精彩程度為考量。真的天勝一座雖僅在1913、1914 年來到上海，但引動當地魔術現代化，天左等人組成的團體，則將東京流行的爵士音樂、連鎖魔術、淺草歌劇等帶入上海。不管中日兩國敵對情勢逐漸升高，上海觀眾仍以娛樂為先，顯示出該城市的獨特性格。

Shōkyokusai Tenkatsu(1886-1944）was a female magician famous for her beauty and virtuosity. After the retirement of her master, Shōkyokusai Tenichi (1886-1944）in 1911, she founded Tenkatsu Vaudeville Magic Troupe (Tenkatsu Ichiza）and gave touring performances in the East Asia, the USA and Canada. From July to August in 1913, this troupe was invited to perform in the Garden Zhangyuan in Shanghai. Soon after the troupe went back to Japan, the Deli Company invited them to return to the Xinxin Wutai’s stage in Shanghai in September. Since August of 1914, the troupe had performed again in the Garden Zhangyuan and the original location of Xinminshe for about two months. In Shanghai, Tenkatsu was called“Mme Tenkatsu,”who started the drive to modernize the Chinese magic performances. Later, magicians Tensa and second-generation Tenichi, who had been apprentices to first-generation Tenichi, pretended to be“Mme Tenkatsu’s Master”to advertise themselves on Shanghai’s stage. Tensa brought the fake“Mme Tenkatsu”in 1926 and “New Mme Tenkatsu”in 1931 to Shanghai, earlier than the phenomena of“Fake Tenkatsu” happening all over Japan in 1934. The success of Tenkatsu’s troupe and her fellow apprentices’troupes spurred a wish in Chinese magicians to prove themselves. Many foreigner troupes in Shanghai also made comparisons between“Mme Tenkatsu”and themselves in the advertisements. While audiences in Peking refused all Japanese troupes when Japanese government oppressed China, this principle was not adopted by those in Shanghai. Although the Tenkatsu Troupe only showed up in Shanghai in 1913 and 1914, it propelled the modernization of local coterie. Moreover, Tensa and “Fake Tenkatsu” brought into Shanghai Jazz, the cinema and real magic combined spectacle, and Asakusa operas which were then popular in Tokyo. Despite the rising antagonism between China and Japan, entertainment always came first to people in Shanghai, which was the characteristics of this city.