曹心泉与20世纪30年代的北方昆曲传承

Cao Xinquan and the Inheritance of Northern Kunqu Opera in the 1930s

20世纪30年代,戏曲史上掀起又一个改良高潮。在京剧繁荣、话剧渐盛的北方剧坛,曹心泉从事着以昆曲传承为主的工作。在教学方面,他践行“以昆养京”的方法,用昆曲的深厚底蕴补益京剧;在表演方面,他记述“以花促雅”的实例,用花部的功法技巧激活昆曲市场;在音律方面,他探索“京昆相长”的路径,以中州音韵规范北曲声律与制谱之道。曹心泉的工作实践对20世纪30年代的北方昆曲传承具有举足轻重的影响,但其局限性在于,曹心泉未能关注“五四”新文化思想及戏曲界的主流研究成果,且理论与实践始终囿于北方剧坛。故其研究方法较为单一,视野亦不够广阔。

In the 1930s,the improvement of traditional opera reached another climax.Cao Xinquan was engaged in the inheritance of Kunqu Opera in the north,where Peking Opera and drama were flourishing.In teaching,he practiced the concept of"nourishing Peking Opera with Kunqu",supplementing Peking Opera with the profound heritage of Kunqu Opera.In performance,he summed up"promoting elegance with popular"and activated the Kunqu Opera market with the skills of popular opera.In theory,he tried""the combination of Beijing and Kunqu"to standardize the rhythm of Beiqu and the way of making music with Zhongzhou rhyme.Cao Xinquan's work practice had a decisive influence on the inheritance and development of northern Kunqu Opera in the 193Os,Its limitation lies in that it fails to pay attention to the new cultural thought of"May Fourth"and the mainstream research results of opera circle,and his theory and practice had always been confined to the northern opera circle.Therefore,his research methods were relatively simple and the vision was not broad enough.