叶长海 上海戏剧学院
Ye, Changhai, Shanghai Theatre of Academy
原文Original
谈谈昆曲人才培养问题
昆曲是现存中国戏曲中最古老的剧种，在其悠久的发展历史中，逐渐形成了一些人才培养的特有的方式方法，其中许多办法，至今依然在戏曲教育中施行。总结研究昆曲人才培养的历史经验，有重要的现实意义。
在昆曲的早期历史上，培养人才主要是在家班之中，师徒间身授言教。至上个世纪20年代，则有昆剧传习所横空出世，这是社会力量对濒临危亡的中华文化的抢救。同时，在一些著名的大学中，有一些昆曲社在活动，使昆曲在高级知识分子中始终拥有知音者。由于有了这样的薪火相传，才使我们的昆曲越过了百年乱局，才有可能在20世纪50年代出现了“一出戏救活了一个剧种”的机缘。
古代家班主人精于曲律，而且全身心地投入这个属于自己的兴趣与事业中。他们对演员的培养，自有一套办法。如明代吴越名家班“先以名士训其义，继以词士合其调，复以通士标其式”。清代李渔在《闲情偶寄》中专门有文章论说对家班“歌童”的培训。他提出的始习文化、次习丝竹、终习歌舞的三方面，是训练培养戏曲演员优秀素质的有效途径。
新旧科班的特点是师徒间命运相连的授受传承关系，教学与演出实践的紧密无间。其中上世纪20年代的苏州昆剧传习所值得大书特书。昆曲传习所提倡文明办学，关注提高学生的文化修养。其教学与演出紧密结合。传习所共生存了6年多，最后改进成了新乐府昆班。
20世纪50年代以后，全国许多地方开办了各种新型的昆剧培训班或昆曲学校。如天津市、浙江省、江苏省等省市。苏州大学中文系率先开办昆曲的本科班。上海戏曲学院最近还开办了“六加四（6+4）中、高一体化昆剧表演专业班”。在这些新型的学校中，建立了全新的师生关系，关注对学生的全面素养的培养，而且探索科学的方法，以培养从事昆曲事业的各方面、各种层次的人才。
译文Translation
Discussion on the Issues of Training Professional Kunqu Opera Singers
Kunqu is one of the earliest forms of traditional Chinese Opera. In its long history of development unique methods of professional training have been gradually shaped, many of which are still being used in local opera education even today. Thus, it is significant and necessary to summarize the experiences of professional training methods in Chinese history.
In the early ages of the development of Kunqu, professional Kunqu training was carried out in the teachers’ homes, where teaching was delivered through personal example as well as verbal instructions. Up to the 1920s, and quite by surprise, Kunqu Chuanxisuo (The Institute for Learning Kunqu) emerged, and people could learn this art publically. This action was the result of social consciousness which sought to save this dying historical art. Meanwhile, Kunqu troupes became active in some well-known universities, attracting fans from the circle of highly educated intellectuals. Because of such torch-passing means of conveyance, Kunqu survived out of hundreds of years of chaos and was able to grasp the precious opportunity of new development. As a special form of opera, Kunqu was truly “saved by one single opera” in 1950s.
In ancient times, the masters were good at both sophisticated melodies and rhythms, and they wholeheartedly devoted themselves to this art and their careers in it. They had a unique and also serious way of training actors and actresses. For example, in the Ming Dynasty, the famous Opera Singers Home Training Class in Jiangsu and Zhejiang would first explain the lyrics to the students with famous sayings from history, and then would teach the students the melodies to go with the words. Then after all such foundational trainings the master would instruct them in the set postures so that the melodies and lyrics could be integrated in the performing art. Li Yu of the Qing Dynasty wrote an essay in his book Xianqing Ouji, introducing the training of young singers. He suggested that an effective way of training good opera performers should follow three steps: firstly to learn the classics, secondly to practice musical instruments, and thirdly to practice singing and dancing.
The major characteristics of home classes during different periods were the close relationship between the master and his/her students, and between the teaching and the practicing. But such home teaching had its weakness and was challenged when new methods of education were introduced to China. Therefore, the method applied by the Suzhou Kunqu Opera Institute in the 1920s is well worth mentioning. This institute paid attention to the needs of the students, focusing on the foundational education of the singers. Teaching and performance were nicely integrated. The Institute was able to survive for about six years and later was reformed to become the Xinyuefu Kunqu Class.
After the 1950s, new forms of Kunqu classes and schools were established in many places. All these new types of Kunqu classes pay attention to the holistic training of the students, establishing a new relationship between master and students, and they have successfully trained many talented opera singers.