接到《上海戏剧》杂志社约写有关昆曲连载文章的电话,心中诚惶诚恐。不过,静下心来一想,自己还是有着不少“近水楼台先得月”的优势的。博士毕业后,我来到上海昆剧团供职。在那些陌生却又熟悉的老艺术家跟前,我如同面对一个巨大的宝藏——心存敬意,渴望亲近,却不知该去怎样探寻、挖掘。从去年起,我开始进行以“昆曲传承”为主题的“非遗”保护工作,开始陆陆续续地与老艺术家们“亲近”了起来。我发现,这批将来会被写进戏曲史的“老家伙”们,并非想象中的那样生硬古板,而都是些“性情中人”。更难得的是,在记录、整理他们的口述时,我还发现了一些现今昆曲资料中没有的新的内容,能对将来的研究提供帮助。与《上海戏剧》编辑商谈之后,我决定一试,商定在“往事”栏目中分12期来谈“上昆”的老艺术家们。为避免大而无当,每期主谈一位艺术家的一个小点,不求全面,但求新鲜。由于水平所限,行文难免疏漏,望专家学者和广大读者指正。 Received a “Shanghai Theater” magazine about writing a series of telephone Kun Kun, the hearts of fear and trepidation. However, stop and think about it, they still have a lot of “near the water first date ” advantage. After graduation, I came to Shanghai Kun Opera Troupe. In front of those strange but familiar old artists, I was like facing a tremendous treasure - respect, desire, but I do not know how to explore and tap. Since last year, I started to carry out the “non-legacy” protection work with the theme of “Kunqu Opera inheritance” and began to “get close” with the old artists one after another. I found that these “old guys”, who will be written into the history of opera in the future, are not as rigid and imaginative as they are all. What is even more rare is that when I record and collate their oral statements, I also found some new contents that are not found in current Kunqu materials and can help in future research. After discussing with the editor of The Shanghai Drama, I decided to give a try and agree to discuss the old artists in Kunqu in 12 parts in the “Past” section. In order to avoid being overbearing, each stage mainly talks about a small point of an artist. Due to the limited level, the wording is inevitable omission, hope experts and scholars correct readers.