在座的都是昆曲专家,我这里讲几句外行话,只是个人意见。大家讨论昆曲的前途问题,这个问题实际上有两个方面的含义。因为昆曲本身就有两重性:一、它代表着中国戏曲艺术几百年的老传统;二、它是中国成百个戏曲剧种中的一个剧种。首先,昆曲是中国戏曲传统的代表。立足于这一点,我们才能较好地认识它的继承问题。当初魏良辅改革昆山腔,创立“水磨调”,其实是继承了北曲的许多东西的。那时的北曲已经十分衰落,是最不流行的东西了,魏良辅他们在昆山腔提高过程中,把这个传统继承下来,又加以革新,使得昆腔一下子兴盛起来,成为最流行的东西了。这样一来,作为“北曲”,的确是衰亡了;而作为中国的戏曲传统, Kunqu opera here are experts, I am here to speak a few words from the layman, just personal opinion. Everybody discussed the issue of the future of Kunqu Opera. This question actually has two meanings. Because Kunqu Opera itself has duality: First, it represents the old tradition of Chinese opera art for centuries; secondly, it is a type of drama in hundreds of Chinese operas. First of all, Kunqu Opera is the traditional representative of Chinese opera. Based on this point, we can better understand its succession issue. Initially Wei Liang Fu Kunshan cavity reform, the creation of “Shuimo tune”, in fact, inherited many of the things North song. At that time, the Northern Song Dynasty had already declined very much. It was the most unpopular thing. Wei Liangfu, who inherited this tradition while innovating in Kunshan, made it suddenly become the most popular thing. As a result, as the “North Opera” is indeed a decline; and as China’s traditional opera,