一中国戏曲是个不断繁衍的大家族。不少新剧种是在近现代出现或成熟的。其中最引起我兴趣的,是京剧和越剧。京剧成熟于近代史的开端,实质上它是古代戏曲的终结。以它的代表作《群英会》、《四进士》、《打渔杀家》以及略晚一些的《霸王别姬》等等来说,其演剧风格仍属于古典戏曲的范畴。当然,京剧也作了许多近代化的努力,上海曾开风气之先,这就是海派京剧的产生。海派京剧的结局带有悲剧性:在总体上(不是指个别艺术家)并没有形成一种足以同京朝派的京剧并驾齐驱的新的演剧风格流传下来,到新中国成立以后,它又基本上向 A Chinese drama is a growing family. Many new plays appear or mature in modern times. One of the most interesting to me is Beijing Opera and Yue Opera. Peking Opera mature in the beginning of modern history, in essence, it is the end of ancient drama. With its masterpieces such as “Mahjong,” “Four Scholars,” “Fishing to kill the family,” and some later “Farewell My Concubine,” and so on, its drama style still belongs to the category of classical drama. Of course, Peking Opera also made many modern efforts, Shanghai had the precedent, which is the birth of the Shanghai Opera. The finale of the Shanghai opera is tragic: there is no overall (not necessarily individual artist’s) formation of a new style of drama that is enough to keep pace with the Peking opera. After the founding of New China, to