对昆剧传习所百年薪火传承的反思  

On the Inheritance of Kunqu Opera School

作　　者：邹元江[1] Zou Yuanjiang

机构地区：[1]武汉大学哲学学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第3期140-156,共17页Drama:The Journal of the Central Academy of Drama

摘　　要：昆剧传习所“传”字辈百年薪火传承,留下了诸多需要深刻反思的问题。昆剧演员之所以不是在斯坦尼斯拉夫斯基意义上的“进入角色”“演人物”,这既与演员以童子功练就的极其繁难艰奥的行当程式中介来间离地表演角色有关,也与昆剧“曲牌”格范填词的非话剧的剧作叙述模式密切相关。“传”字辈并非不特别讲究唱,他们当年是以“堂名”“清曲”奠定了演唱的坚实基础,这恰恰是当代昆曲传承急需要加以弥补的薄弱环节。“传”字辈的成才率是很高的,这与昆剧传习所既善于发掘人才,也乐于因材施教密不可分。戏曲演员唱戏的条件严格说来就是老天赏不赏饭的问题,没有嗓音、扮相、身材、悟性等先天禀赋,铁棒也是难以磨成针的。当代某些昆曲大家对声腔设计不科学、不合理,只能“落调门”演唱有微词,实为有自身嗓音条件先天不足的隐情。The inheritance of the “Chuan” Generation of Kunqu Opera School has left many issues that require deep reflection.The reason why Kunqu opera actors do not “act” “as the role”in Stanislavsky's sense is related to two factors.On the one hand,it takes strenuous efforts for actors to develop a formation(hangdang,chengshi)as the intermedium based on tongzigong and then to perform the roles;on the other hand,it is related to the non-drama narrative mode of “Qupai” lyrics in Kunqu Opera.Actually,the “Chuan” Generation is also particular about singing.They laid a solid foundation for singing with “tang ming” and “qing qu”,which is precisely the weak link in the inheritance of contemporary Kunqu Opera that urgently needs to be made up for.For the “Chuan” Generation,the success rate is high,which is inseparable from the Kunqu Opera School's ability to excavate talents and its teaching in accordance with their aptitude.Strictly speaking,the conditions for opera actors to sing lie in their gifts.Without gifts such as voice,appearance,figure,and savvy,little strokes cannot fell great oaks.Some contemporary Kunqu opera actors keep criticizing the unscientific and unreasonable vocal design,and they cannot but sing with the “falling tone”.However,this is in fact about their inherently inadequate voice.

关 键 词：昆剧传习所 “传”字辈 传承 反思 

分 类 号：J82[艺术—戏剧戏曲]