明清以来,昆剧舞台上活跃着很多昆丑演员。他们虽然相较于生旦家门难以色相取悦于人,也不易以表演细腻以情动人,但他们由于高超的演出技能而进入人们视野,被大书特书。如明代丑角刘淮,他的演出技艺之高超达到了使观众真假难辨的程度,明人余怀在《板桥杂记》中所记丁继之扮演《金锁记·说穷、羊肚》张母,朱维章所扮之武大郎,皆妙绝一世。清代李斗《扬州画舫录》比较关注丑角,他著录了一些技艺高超、各逞其能的昆剧丑角艺人,如钱云从和顾天一:二面钱云从,江湖十八本,无出不习。今之二面,皆宗钱派,无能出其右者。同时钱配林,技艺虽工,过于端整,为云从所掩。后入洪班,方显其技。三面以陈嘉言为最,一出《鬼 Since the Ming and Qing Dynasties, Kunqu opera stage is active with many Queensland ugly actors. Although they are more difficult to live in humor than those who live in the Daddy’s house, they are not easy to act exquisitely and emotionally, but they have entered the field of vision due to their superb performance skills. Such as the Ming Dynasty Harlequin Liu Huai, his superb performance skills to make the audience true and false difficult to distinguish the degree of Ming Yu Yu Huai in the “Banqiao miscellany” in the book, followed by Ji Ding “Golden Lock said poor, sheep belly” Zhang Mother, Zhu Wei chapter Wu Dalao play, all wonderful never before. Qing dynasty “Yangzhou Huafang recorded” more concerned about the harlequin, he recorded a number of superb techniques, each succeeding in Kunqu Opera harlequin artists, such as Qian Yun and Gu Tianyi: both sides of Qian Yun, rivers and lakes eighteen, No excuse This second side, all Zong Qianpai, incompetent out of their right. At the same time money with Lin, although the workmanship is too much, for the cover from the clouds. After entering the flood classes, Fang display their skills. Three to Chen Jiayan for the most, a "ghost