“昆曲而今已沦亡”这句话,前些年常有人用来引为戏曲盛衰的前车之鉴,每每闻此,我从来不以为然。尽管二十七年前被《十五贯》一剧救活了的这个古老剧种,未能逃脱“史无前例”的摧残,几乎被人为地消灭,然而妖氛扫净之后,毕竟重又复兴。老辈辛勤传艺,新人脱颖而出,更喜中年一辈,艺臻稔熟,活跃曲坛,势成砥柱,真个是见人见戏。前年的姑苏会演,继后的二昆(上昆、苏昆)来京,一派繁茂气象,有目共睹。仅就小生一行人材而言,如今大江南北,屈指数来,佼佼者总不下十来位。若提起浙江“世字辈”中的汪世瑜,推为此中翘楚,当是众所首肯的。 “Kunqu is now dead” phrase, a few years ago often used to lead the rise and fall of the drama of the lesson, often hear this, I never agree. Although the ancient operatic drama saved by “Fifteen and One” plays twenty-seven years ago failed to escape the “unprecedented” destruction, it was almost artificially destroyed. However, after the demon atmosphere was completely destroyed, it was revived after all. The old hardworking arts, new talent come to the fore, more like middle-aged generation, Arts Zhen familiar, active music altar, potential, the real one is to see people play. Two years ago, the second session of the Kun-Kun (Kun-Kun, Sukun) came to Beijing, with a prosperous appearance and obvious to all. Only a niche talent, now the big river north and south, the index, the leader no less than a dozen. If you mention Zhejiang “Shi Zi generation” in the Wang Shi-yu, pushing for the best, when it is approved.