《荆钗记·见娘》是昆剧常演的剧目,本以唱工为主,不以身段做工见长,行话叫做“摆戏”,演出则温文淡雅,优美含蓄。然而永嘉昆演来却不同(剧本是相同的),特别给我留下深刻印象的有三处。首先是王十朋听说家眷到了,满怀欣喜出门迎接那一段。苏州昆剧通常都当作交待情节的过渡性场面处理,一带而过。但永嘉昆剧却把母子久别重逢、悲喜交集的感情一层层、一笔笔地进行了描绘。先是王十明满面笑容吩咐大开正门,出门向台左打躬,口称:“孩儿迎接母亲。”抬头未见母亲,微微一愣,赶忙回身走向台右一望,仍不见母亲(这是为了铺垫),再回身转向台左时,王母上场了。母子四目相望,双手微颤,一个大停顿。然后王十朋高呼母 “Jing Chai Kee Niangniang” is Kunqu Opera repertoire, the main singing, not to figure out chief executive, jargon is called “play”, the performance is gentle and elegant, beautiful and subtle. However, Yongjia Kun acting to different (the script is the same), in particular, impressed me in three places. First, Wang Shipeng heard that family members arrived, full of joy to go out to meet that period. Suzhou Kunqu Opera is often treated as a transitional scene to deal with the plot, passing by. However, Yongjia Kunju drama has a long time no mother and child reunion, feelings of sadness and joy at different levels, one by one for a description. First, Wang Shiming smiled and commanded open the main entrance, went out to bow to the stage left, saying: “Children meet the mother.” Looked at the mother did not see, slightly surprised a moment, and quickly turn around and look to the right, still not seen the mother (this is to pave the way), and then Turned around when the stage left, the Queen Mother played. Mother and child across the sky, his hands trembling, a big pause. Then King Shiro shouted