读了《上海戏剧》一九八二年第四期曾一知的《观剧有感》,我想对文中的若干看法,提出来与作者商榷。曾文认为“现今昆剧舞台上巾生的表演已经官生化了”,“副、丑这两个不同家门的步法、身段以及某些表演方法混杂了”,指出“传统戏曲的分行自有其合理性,这一点在继承表演艺术遗产时也是应该慎重对待的。”我认为:曾文的这种说法过于强调了演员行当分类的合理性,忽视其局限性。这与某些主张“原本学、原谱唱、原样演”的论点,颇有相同之处。 I read “Shanghai Drama”, the fourth episode of “Theater Drama” I had known in 1982, and I would like to discuss some of the opinions in this article with the author. Tseng Wen thought that “the performance of the present stage of the Kunju opera is already officialized,” and “the footwork, the figure and some performances of the two different houses of vice and ugly are mixed,” pointing out that “the branch of the traditional opera has its own Its rationality should also be treated with caution in inheriting the heritage of performing arts. ”I think: This statement by Zeng has placed too much emphasis on the classification of performers and the neglect of their limitations. This is quite in common with some arguments that advocate “original learning, original music singing, and original performance.”