建国初期(1949—1956)的江苏昆剧为什么会衰而未亡?

Why There Is a Decline but Not Fall in Kunju Opera in Jiangsu Province in the Early Days of PRC(1949—1956)

新中国成立初期江苏昆剧处境尴尬,但昆剧仍因为“四脉“的存在得以衰而未亡:一条根脉是孑遗的“传字辈”和他们的老师辈,他们在当时维系着的昆剧的“戏脉”;第二条根脉是曲社和堂名,它们延续着昆曲的“曲”脉;第三条是文脉,主要靠当时的曲家来维系;第四条是支持昆曲发展的官脉,体现为政府官员尤其是文化官员、文化政策对昆剧的支持。《十五贯》盛演之后,昆剧之所以能在短时间内较快恢复,与这几条根脉的维系密切相关。

In the early days of PRC,Kunju opera in Jiangsu province was stuck in an awkward situation,yet Kunju opera still survived because of the existence of“four roots”.The first root is the group of surviving artists entitled“generation Chuan”(named with Chinese character“传”[“Chuan”])and their teachers,who maintained the“drama root”of Kunju opera at that time.The second root is the opera troupes and bands,which continued the“tune”root of Kunqu opera.The third is the root of plays,which is mainly maintained by the dramatists at that time.The fourth is the social connections in officialdom that support the development of Kunqu opera,which includes the supports from government officials,especially cultural officials and from cultural policies for Kunju opera.The reason why Kunju opera can revive quickly in a short time after the flourishing performance of the play Fifteen-string Copper Coins(Shi-wu-guan)is closely related to the maintenance of these roots.