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本文旨在讲述1949年以后昆曲演艺在海外的传播及其与文人文化的关系。在此六十年离散又聚合的传承绵延中,著名曲家张充和女士起到了重要的桥梁作用。在曲学精神方面,张女士一直传承了曲学大师吴梅先生的“文化曲人”的传统,亦即昆曲与诗书画三绝融合为一的传统。而1949年以后的海外昆曲——无论是在美国或是台湾——尤以吴梅所代表的文化曲人传统最为人称道。但这个传统并非凭空就在海外产生的,在很大程度上,它是充和女士和其他文人在抗战烽烟的大流离中(1937-1945)所建立的昆曲文化之延续,尤其是充和以一代才女的角色东奔西走,风云际会中聚合了众多曲人,传播了艺苑佳话。本文通过她与北美的曲社同仁以及台湾的吴门弟子多方联谊,吟唱不辍,以曲会友兼题诗留画等活动,讲述了一群旧友新知如何弘扬了华夏美声的海外乐章,同时也表现出中国文化随同华人一起走向世界的生命力。
The purpose of this article is to describe the overseas propagation of Kunqu opera in 1949 and its relationship with literati culture. In the sixty years of discrete and aggregative inheritance, the famous songwriter Ms. Zhang Chonghe played an important role as a bridge. In the spirit of music education, Ms. Zhang has inherited the tradition of “musician” of master songwriter Wu Mei, that is, the combination of Kunqu Opera and poetry calligraphy and painting. The overseas opera after 1949, whether in the United States or Taiwan, is especially acclaimed as the tradition of cultural figures represented by Wu Mei. This tradition, however, was not produced overseas. It was to a large extent the continuation of the Kunqu opera culture established by Madame Chiang and other literati in the outbreak of the war of resistance against Japan (1937-1945), in particular, The role of a generation of talented women go around, the situation will gather a large number of people in the occasion, the spread of Yiyuan story. Through her multifaceted friendship with songwriters in North America and Wumen disciples in Taiwan, her works on singing and painting of poets and poems, etc., she tells of how a group of old friends’ new knowledge promoted the overseas music movement of Huaxi Mei Sheng, Chinese culture along with the Chinese to the world’s vitality.