传承作为昆曲国家文化战略确立的关键

Inheriting is the Principal National Cultural Strategy to Develop Kunqu

昆剧的地域性丧失、昆曲传承人才短缺的突出标志就是昆曲剧目的失传速度进一步加快,这就使我们不能不反思:即便是提"国家文化战略",也要提"京昆国家文化战略",而不能只提"昆曲国家文化战略"。为什么西方话剧和中国戏曲的结合难以成为所谓的"世界戏剧"呢?这其中根深蒂固的原因就是东西方文化的根本差异。西方话剧即便是接纳了东方戏曲表现性的元素,弥补了话剧演员身体表现性不足的缺憾,使它更加好看,但它也不会从根本上放弃理性至上的最高理念。而中国戏曲对西方话剧的学习却极大地伤害了中国戏曲的审美本质。昆曲已经再也经不住"草创"之"新"了,昆曲已经不是无中生有的再"始造""首创"的对象,它已经在几百年的不断累积传承中趋于审美表现的极致。昆曲是最难传承的一种艺术样式,它是需要大师级、掌握绝活的人才有资格承担的。演员之外,还应有另外四个元素的传承,即剧本、音乐、美术、导演的传承。真正明白昆曲的人都知道,戏曲演员永远不会单纯背那个文学本,他们永远是身体性的、是肢体性的、是唱念做打的、手眼身法步的记忆,他们是心象(身段)记忆、是音象(乐象)记忆,而非文学性记忆。这种记忆的特殊性我们学界的确了解得太少。关于昆曲音乐的传承,要注意它不是地方戏的音乐,而是曲牌体的宫调音乐。昆曲的灵魂就是应该传承的曲牌,要有严格的格律和宫调把握。中国传统的教育永远是从审美的、成人的意义上出发的。训练成一个有修养、有韵味、有审美感召力的人,大写的人,这才涉及到我们的文化战略问题。考虑培养一些有能力传承传统戏曲艺术精神的老师,是真正的国家文化战略得以确立的首务。

Regional loss and inheriting personnel shortage of Kunqu results that Kunqu plays list loss in a quicker way. This makes us retrospect that we should propose the national cultural strategy of Peking opera and Kun opera instead of Kun opera national cultural strategy. The integration between western dramas and traditional Chinese opera is difficult to become world opera, since oriental culture is extremely different from western culture. To learn from western drama will greatly destroy the aesthetic essence of traditional Chinese opera. As regards to innovation, Kun opera could no longer initiate and inaugurate, since it has already tended to an aesthetic perfection in hundreds of years＇performance and inheriting. Kun opera is the most difficult art pattern to inherit. Only those who are expert in it could undertake the responsibility of inheriting. We should not only inherit comprehensively in performing, directing, scriptwrlting, music, and stage art. And Kun opera music is not a regional music but a qupai gongdiao music. So, the soul of Kun opera is that we inherit qupai and should comprehend rhyme and gongdiao. And to cultivate those who could truly inherit the art spirit of traditional Chinese opera is the principal national cultural strategy.