我是在写“北方昆曲的孤独”一文时,到北方昆曲剧院采访,见到该院青年演员张卫东的。三十多岁的他,戴个银丝边眼镜,待人接物谈吐举止平和有度,与我曾经接触过的戏曲演员不大一样。通常戏曲演员那种待人接物的和气做派,拿捏着一股劲儿,总像在做戏,一殴江湖套路与味道。卫东的和气,带着书卷气,是有家教的根底带出来的气质。 When I was writing The Loneliness of Kunqu Opera in the North, I interviewed the Kunqu Opera in the north to see the young actress Zhang Weidong in the hospital. In his thirties, he wore silver-edged glasses, treated gentlemanly with the ease of conversation, and were not much the same as opera actors I had been in contact with. Often the kind of drama actors to be the kind of people to do with the gas to do, holding an effort, always acting like a movie, a taste of rituals and taste. Weidong’s modesty, with bookish, is the tutor of the basic temperament brought out.