A Study On Shanghai "Kun Da Ban"(The First Generation Actors Of Kunqu Opera In Shanghai After 1949)

Shanghai "Kun Da Ban" refers to the first generation actors of Kunqu Opera in Shanghai after 1949,trained by the State in a new kind of education pattern with generous financial aids.Many contemporary outstanding artists in Kunqu Opera and Peking Opera are from "Kun Da Ban",such as Cai Zhenren,Yue Meiti,Hua Wenyi,Liang Guyin,Zhang Xunpeng,Wang Zhiquan,Cai Yaoxi,Ji Zhenhua,Fang Yang,Liu Yilong,Zhang Mingrong,Cheng Zhixiong,Yang Chunxia,and so on and so forth.They have had a great impact at home and abroad,recognized as "the class with the highest cultivating" by the education field of Chinese Opera."Kun Da Ban" is undoubtedly the most representative group of Kunqu Opera Performing in southern China since 1949,with a great feature of "most" : most complete talents,most number of plays,most capabilities of artistic creation,most popularity,most vitality of art,etc.It not only plays a key role in the history of Kunqu Opera,bridges the preceding and the following on the development of the art performing,but also could serve as a perfect model of actor training.Therefore,it has extremely high value of research.This thesis targets at sorting out the art career of "Kun Da Ban",analyzing their artistic features and achievements,then summing up experiences and laws in art inheritance as well as talents cultivation of Kunqu Opera.The thesis consists of five parts.The first part outlines the setting up background of "Kun Da Ban",which divides into two sections,one is the social milieu of Kunqu Opera in Shanghai before and after the founding of new China,including the situation of performing and actors,the other is about the measures for protection and development on Kunqu Opera taken by Huadong Opera Research Institute under the background of revolution of Chinese Traditional Opera in the fifties.The second part details the admission process of "Kun Dan Ban",containing examination contents and characteristics of examinees.The third part focuses on the cultivating of "Kun Da Ban" by Chinese Opera School in Shanghai,analyzing the superiorities andspecialties of school teaching through comparing with the old-type,and then explore the results and regularities of how "Kun Da Ban" was tempered.The forth part systematically analyzes the artistic features of "Kun Da Ban" from perspective of repertoire creations and performance developments.The last part reviews the teaching situations of “Kun Da Ban” in the past thirty years,summarizing their teaching achievements and characteristics,and reflects problems in current Kunqu-actor education with the background of "oral and nonmaterial cultural heritage",then try to put forwards some personal opinions for future development.