余秋雨说,我们的民族文化中,唐诗、书法、昆曲,是中国人的三种“痴迷”。昆曲曾经有过辉煌历史。晚明至清朝乾嘉时期的两百多年间,昆曲堪称“国剧”。上至宫廷,下至市井,帝王将相乡绅布衣莫不爱好。唱昆曲也在上层社会成为一种时尚,在市井街头则演绎为盛大的“全民运动”。昆曲集诗、歌、舞、戏于一体,由于大量文士参与撰写、审度音律,昆曲逐成为明清时代高雅艺术的指标。文化大革命是中国传统戏剧的分水岭,永昆也在劫难逃。从全民运动,至衰微到振兴,昆曲再次迎来春天的同时,也面临着巨大的挑战。 Yu Qiuyu said that in our national culture, Tang poetry, calligraphy, and Kunqu opera are three kinds of “obsession” among Chinese people. Kunqu has had a glorious history. From the late Ming Dynasty to the Qing Dynasty, two hundred years of Qianlong period, Kunqu opera was called “national drama ”. On the court, down to the marketplace, the emperor will Xiangxushen commoner not love. Singing Kunqu is also a fashion in the upper class, while the streets in the city are interpreted as a grand “national movement.” As a collection of poems, songs, dances and plays, the Kunqu opera became an index of elegant art in the Ming and Qing Dynasties due to the participation of a large number of scribes and the examination of the temperament. The Cultural Revolution is the watershed of traditional Chinese drama, Yongkun is also fleeing. From the national movement to decline to revitalization, Kunqu once again ushered in the spring, but also faces a huge challenge.