论文部分内容阅读
舞台上,随着乐曲响起,一个光头大汉健步上台,但见他一边左手拿着话筒、右手执笔在脸上描画着白色的油彩,一边演唱着以昆曲曲牌谱曲的高亢浑厚的“昆歌”苏轼词《赤壁怀古》。转眼之间,一张“包公脸谱”画就。整个过程他既没对照镜子,也没旁人指点,完全凭着记忆和经验。一曲终了,喝彩声鼓掌声响成一片。
这自唱自画的绝活叫“三笔画青天”,而这位表演者就是浙江昆剧团副团长、著名昆剧老生程伟兵。
南人北相梨园世家出人才
程伟兵出生于江南的湖州,但具有北方汉子的体貌:接近一米八的身高,体格魁梧,浓眉大眼,嗓音洪亮。他的家庭是梨园世家,爷爷对他的影响最大。爷爷祖籍河北,早年在北京三庆班演摔打花脸,后来南下到上海演连台本戏,得名“摔不死的程双庆”。程伟兵自小跟随爷爷练习基本功,为将来的戏曲生涯打下了坚实的基础。他的父母也是京剧演员,父亲当年跟随周云亮在南京京剧团,母亲早年则在张家班。
“文革”期间,程伟兵插队落户到湖州双林镇,因为有着不错的京剧功底,曾被安吉县文宣队“借”去出演了几场戏,在当地略有名声。“文革”结束之初,浙江昆剧团开始招生,他来到杭州报名参加考试。考试过程中,主考官周传瑛感觉他的嗓音不同于常人,声音洪亮,便问他:“你会不会翻跟头?”程伟兵看了看四周,说道:“这房顶挺高的,只怕我跟头翻起来要碰到。”见他文武双全,周传瑛便正式录取了他,而他的这句话也成了昆剧团的一个美谈。
好嗓难得为保真嗓改老生
昆曲重小生。在程伟兵来到昆剧团一个月之后,剧团的谢书记找到他,希望他主攻小生。但是,小生和老生的唱腔有着很大的区别,小生的唱腔要由假嗓发音,而老生的唱腔则是由真嗓发音。在戏曲界人所共知:假嗓真嗓只能存其一。在改小生一个星期之后,他发现自己的嗓音有些不对劲了。周传瑛听到后,对谢书记说:“还是不要改小生了,好不容易有一条好嗓子,不要把嗓音给毁了。我把《十五贯》都教给他便是。”自此,他便专攻“老生”这个行当。
周传瑛觉得,程伟兵的嗓音和北京昆剧院的侯少魁非常相似,就写信让他到北京跟随学戏。谁知侯少魁因病住院,便让他到中国戏校进高盛麟的京剧班学习《麒麟阁·激秦三挡》。高盛麟破例让他一道学—当时别的学生都只能旁听。这段经历,让程伟兵的文武老生功夫得到了很大的提高。
回到浙江昆剧团之后,程伟兵由“传”字辈包传铎、沈传锟先生负责教戏。当时汪世瑜已调到“小百花”当辅导老师,汪戏大都由程伟兵来出演,他尝试用老生的唱腔来演“大官生”,竟韵味独具,非常有特色。
对他来说,由一个知青走进艺术殿堂,已经是一件幸事。“传”字前辈对他的期望非常高,要他把《十五贯》这出老生戏给演好。
老生之道甘当绿叶衬红花
一个昆曲演员,好的嗓音是其特有的财富。对于程伟兵来说,他有着一定的优势。
在昆曲老生戏中,有一出戏《长生殿·弹词》,表演者需要生动地展现李龟年曾经风光无限却流落到低声下气为人卖唱这样的经历。程伟兵唱的一曲“不提防”,荡气回肠,势如排山倒海,唱尽大唐由盛转衰的伤心事。由悲愤慢慢唱到激昂,再唱到高兴,最后慢慢回到落魄的感情,整整五十分钟,从“一转”唱到“九转”,不给人喘息的机会。这出戏是程伟兵的拿手好戏。当年在郑传鉴和包传铎的帮助下,他花了半年的时间,才将这部戏排好。白先勇曾说:“近十年以来,《弹词》这出戏在大陆没有一个能超过程伟兵。”2003年,白先勇邀请他到台湾参加名为“绝代风华”的演出,并戏称他为“天帅”。
不过程伟兵自己觉得《公孙子都》中的“寨主”尤为出彩。在这部戏中,一曲《胜如花》难度颇高。结果一唱完,台下掌声雷动,观众对他的演唱赞不绝口。在他的戏曲演艺生涯中,李龟年和寨主,可谓是他最出彩的两个角色。
在昆曲中,老生的角色其实是陪衬红花的一片绿叶,能够由老生担当主演的大戏,除了《十五贯》,其他屈指可数。周传瑛在病榻上曾为程伟兵改了一出《长生殿·骂贼》,希望能够由他担当主演。
说到从艺感悟,程伟兵认为,一个有心的昆曲演员,对艺术的理解,特别是对表演人物内心世界的挖掘,是必须要具备的一个基本技能。在出演《临川梦影》中的汤显祖之前,他独自一人来到了遂昌,寻找汤显祖梦中的“红粉知己”。终于,在独山里,有一个大户人家的女儿,琴棋书画样样精通,汤显祖心中的“杜丽娘”,也许就是她。
多才多艺四栖明星展才华
程伟兵不仅在昆曲老生方面有着深厚的造诣。在维也纳金色大厅的巡回演出中,他作为十六位名家之一,参加了这一中国京昆艺术最高水平的盛会。朱镕基总理是京昆“票友”,当听到程伟兵用昆曲作曲、演唱的版本后,大为喜悦,颇加赞赏,并亲切接见了他。
在那段戏曲不景气的岁月里,他还跨入影视界,拍了不少电视剧,像《地下党员》《游击队长》《浦江游击队》等,取得不小成就。他还在《西游记》中出演灵虚子一角;在《智保钱江桥》中担任四集男主演,并演唱了主题歌。
在歌曲方面,程伟兵是幸运的人,得到许多为电视剧演唱主题歌的机会,譬如《江山为重》便是。在作曲家吕其民的作品演唱会上,他与专业歌唱家同台演唱了两首歌。
近些年,程伟兵开始涉足一些写作和编导工作。在第二届浙江省戏剧节中,由他编导的红岩革命烈士作品《小萝卜头》,一举获得了“优秀导演奖”“优秀编剧奖”“最佳剧目奖”。他把一万元稿费,全部捐献给了“小萝卜头”的家乡重庆山区的孩子们。
去年,在聋哑人协会和残疾人基金会以及浙江省政协艺术团的支持下,程伟兵将旧本三十四出的《雷峰塔传奇》改编成为一晚的戏,于第八届全国残运会在杭州召开之际献演,得到运动员们的良好反响。
昆曲“入遗”十年来,保护传承取得了不少成绩。程伟兵告诉我们,现在剧团的演出活动相对于过去已经有所的增加。而在过去,剧团举步维艰,鼓励团员发展第三产业,甚至在黄龙洞包下一个鱼塘,交由程伟兵管理。为了增加更多的演出,程伟兵也曾寻找到一个在钱王祠古戏台上演出的机会,并给剧团带来了不错的收益。 程伟兵相信,总有一天,昆曲在内地也能够像在台湾一样广受欢迎。
(本文照片由作者提供)
Cheng Weibin: a Talented Kunqu Opera Performer
By Sha Zhou and Wang Yi
When music sounds, a bald tough male performer strides onto the stage. He holds a microphone in the left hand, singing, in Kunqu Opera style, “Nostalgia at Red Cliff,” a Ci-poem by Su Dongpo (arguably the greatest poet of the Song Dynasty 960-1279), while painting a facial mask on his own face with a brush pen held in the right hand. After a few minutes, a Peking Opera mask of Justice Bao is done. The performer uses no mirror in the whole process and he paints from memory and years of practice. As music stops, the audience bursts into applause for this wonderful performance.
This is Chen Weibin, one of the most famous elder male character players in Kunqu Opera. He is the deputy leader of Zhejiang Kunqu Opera Troupe.
Born in Huzhou City in northern Zhejiang, Cheng Weibin is nearly 1.8-meter tall. He has bushy brows, big eyes and a delightfully resonant voice. Cheng’s family is a typical family of theater actors of modest renown. Both his parents and his grandfather were opera performers. As a boy, Cheng learned basic performing skills from his grandpa, which prepared him for a future theater career.
After the Chinese Cultural Revolution, troupes in Zhejiang began to recruit young talents. Cheng came forward as a candidate. In Hangzhou, he took the entrance examination hosted by Zhejiang Kunqu Opera Troupe. Zhou Chuanying, a veteran Kunqu Opera performer of Zhejiang Kunqu Opera Troupe, liked Cheng’s voice quite a lot, thinking the voice was resonant and extraordinary. Zhou asked the young man if he could do somersaults. Cheng looked up at the ceiling of the room and commented that he could touch the ceiling if he somersaulted. Cheng was recruited.
Kunqu Opera traditionally gives the best play to the Xiaosheng (young man character) player and always treasures talents who will turn out to be charming young men on stage. Cheng ran into a dilemma caused by this tradition. He was young, handsome and talented. He had every reason to be considered a hopeful for the Xiaosheng character. Mr. Xie, a leader of the troupe, came to see Cheng a month after he joined the troupe and wanted him to focus on playing Xiaosheng. The singing style of Xiaosheng and Laosheng in Kunqu Opera are different. The Xiaosheng performer sings falsetto while the Laosheng character does not. A week after he practiced the Xiaosheng, Cheng found his voice went wrong. Zhou Chuanying came to his rescue, suggesting that the young man should train as a Laosheng character so as to keep the wonder of his voice. That is how Cheng became a Laosheng performer. Recommended by Zhou, Cheng went to Beijing to study under Hou Shaokui, a celebrated Laosheng player with Beijing Kunqu Opera House. Unfortunately, Hou was in hospital. Hou recommended Cheng to take lessons from Gao Shenglin, a Peking Opera Laosheng master. The special treatment Cheng received from the masters was largely due to his special voice. They had not heard such a young wonderful Laosheng voice for a long while.
After he returned to Zhejiang Kunqu Opera Troupe, Cheng continued to learn Kunqu Opera from Bao Chuanduo and Shen Chuankun. After Wang Shiyu, who used to be the best Xiaosheng character of the troupe, had been transferred to another troupe to coach young women performers, Cheng became a main lead man of the troupe. He stepped into the vacancy created by Wang Shiyu and acted his roles. Singing the arias of the “Great Xiaosheng” character, a role especially for gods, emperors and other heavyweight heroes, Cheng used his special Laosheng singing style. The voice offers an unconventional appeal. Theatergoers went wild and fell in love with him. They are still in love with him.
Over years, Cheng Weibing has appeared in many plays of Kunqu Opera. One of the two best characters he has performed in his career is Li Guinian in a play about the romance of an emperor and his concubine. Although only a supporting character in the play, Cheng sings a 50-minute aria. He learned it over a period of six months under the tutelage of two masters of the troupe. Bai Xianyong, a Taiwan-based novelist and a celebrated champion of Kunqu Opera over the past decades, once praised Cheng for his excellence, saying that no one on the mainland had outperformed Cheng Weibing in this play in nearly a decade. In 2003, Cheng was invited to stage his 50-minute aria in Taiwan, which is known for its large number of Kunqu Opera enthusiasts.
Chen is widely recognized one of the best Kunqu Opera artists. He was chosen with other 15 opera artists to present a show of highlights of Peking Opera and Kunqu Opera plays at Musikverein Vienna.
Kunqu Opera is listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO since 2001. Cheng Weibin believes that with the efforts of him and other Kunqu Opera artists, this traditional Chinese art form will go on to flourish. (Translated by Danni)
这自唱自画的绝活叫“三笔画青天”,而这位表演者就是浙江昆剧团副团长、著名昆剧老生程伟兵。
南人北相梨园世家出人才
程伟兵出生于江南的湖州,但具有北方汉子的体貌:接近一米八的身高,体格魁梧,浓眉大眼,嗓音洪亮。他的家庭是梨园世家,爷爷对他的影响最大。爷爷祖籍河北,早年在北京三庆班演摔打花脸,后来南下到上海演连台本戏,得名“摔不死的程双庆”。程伟兵自小跟随爷爷练习基本功,为将来的戏曲生涯打下了坚实的基础。他的父母也是京剧演员,父亲当年跟随周云亮在南京京剧团,母亲早年则在张家班。
“文革”期间,程伟兵插队落户到湖州双林镇,因为有着不错的京剧功底,曾被安吉县文宣队“借”去出演了几场戏,在当地略有名声。“文革”结束之初,浙江昆剧团开始招生,他来到杭州报名参加考试。考试过程中,主考官周传瑛感觉他的嗓音不同于常人,声音洪亮,便问他:“你会不会翻跟头?”程伟兵看了看四周,说道:“这房顶挺高的,只怕我跟头翻起来要碰到。”见他文武双全,周传瑛便正式录取了他,而他的这句话也成了昆剧团的一个美谈。
好嗓难得为保真嗓改老生
昆曲重小生。在程伟兵来到昆剧团一个月之后,剧团的谢书记找到他,希望他主攻小生。但是,小生和老生的唱腔有着很大的区别,小生的唱腔要由假嗓发音,而老生的唱腔则是由真嗓发音。在戏曲界人所共知:假嗓真嗓只能存其一。在改小生一个星期之后,他发现自己的嗓音有些不对劲了。周传瑛听到后,对谢书记说:“还是不要改小生了,好不容易有一条好嗓子,不要把嗓音给毁了。我把《十五贯》都教给他便是。”自此,他便专攻“老生”这个行当。
周传瑛觉得,程伟兵的嗓音和北京昆剧院的侯少魁非常相似,就写信让他到北京跟随学戏。谁知侯少魁因病住院,便让他到中国戏校进高盛麟的京剧班学习《麒麟阁·激秦三挡》。高盛麟破例让他一道学—当时别的学生都只能旁听。这段经历,让程伟兵的文武老生功夫得到了很大的提高。
回到浙江昆剧团之后,程伟兵由“传”字辈包传铎、沈传锟先生负责教戏。当时汪世瑜已调到“小百花”当辅导老师,汪戏大都由程伟兵来出演,他尝试用老生的唱腔来演“大官生”,竟韵味独具,非常有特色。
对他来说,由一个知青走进艺术殿堂,已经是一件幸事。“传”字前辈对他的期望非常高,要他把《十五贯》这出老生戏给演好。
老生之道甘当绿叶衬红花
一个昆曲演员,好的嗓音是其特有的财富。对于程伟兵来说,他有着一定的优势。
在昆曲老生戏中,有一出戏《长生殿·弹词》,表演者需要生动地展现李龟年曾经风光无限却流落到低声下气为人卖唱这样的经历。程伟兵唱的一曲“不提防”,荡气回肠,势如排山倒海,唱尽大唐由盛转衰的伤心事。由悲愤慢慢唱到激昂,再唱到高兴,最后慢慢回到落魄的感情,整整五十分钟,从“一转”唱到“九转”,不给人喘息的机会。这出戏是程伟兵的拿手好戏。当年在郑传鉴和包传铎的帮助下,他花了半年的时间,才将这部戏排好。白先勇曾说:“近十年以来,《弹词》这出戏在大陆没有一个能超过程伟兵。”2003年,白先勇邀请他到台湾参加名为“绝代风华”的演出,并戏称他为“天帅”。
不过程伟兵自己觉得《公孙子都》中的“寨主”尤为出彩。在这部戏中,一曲《胜如花》难度颇高。结果一唱完,台下掌声雷动,观众对他的演唱赞不绝口。在他的戏曲演艺生涯中,李龟年和寨主,可谓是他最出彩的两个角色。
在昆曲中,老生的角色其实是陪衬红花的一片绿叶,能够由老生担当主演的大戏,除了《十五贯》,其他屈指可数。周传瑛在病榻上曾为程伟兵改了一出《长生殿·骂贼》,希望能够由他担当主演。
说到从艺感悟,程伟兵认为,一个有心的昆曲演员,对艺术的理解,特别是对表演人物内心世界的挖掘,是必须要具备的一个基本技能。在出演《临川梦影》中的汤显祖之前,他独自一人来到了遂昌,寻找汤显祖梦中的“红粉知己”。终于,在独山里,有一个大户人家的女儿,琴棋书画样样精通,汤显祖心中的“杜丽娘”,也许就是她。
多才多艺四栖明星展才华
程伟兵不仅在昆曲老生方面有着深厚的造诣。在维也纳金色大厅的巡回演出中,他作为十六位名家之一,参加了这一中国京昆艺术最高水平的盛会。朱镕基总理是京昆“票友”,当听到程伟兵用昆曲作曲、演唱的版本后,大为喜悦,颇加赞赏,并亲切接见了他。
在那段戏曲不景气的岁月里,他还跨入影视界,拍了不少电视剧,像《地下党员》《游击队长》《浦江游击队》等,取得不小成就。他还在《西游记》中出演灵虚子一角;在《智保钱江桥》中担任四集男主演,并演唱了主题歌。
在歌曲方面,程伟兵是幸运的人,得到许多为电视剧演唱主题歌的机会,譬如《江山为重》便是。在作曲家吕其民的作品演唱会上,他与专业歌唱家同台演唱了两首歌。
近些年,程伟兵开始涉足一些写作和编导工作。在第二届浙江省戏剧节中,由他编导的红岩革命烈士作品《小萝卜头》,一举获得了“优秀导演奖”“优秀编剧奖”“最佳剧目奖”。他把一万元稿费,全部捐献给了“小萝卜头”的家乡重庆山区的孩子们。
去年,在聋哑人协会和残疾人基金会以及浙江省政协艺术团的支持下,程伟兵将旧本三十四出的《雷峰塔传奇》改编成为一晚的戏,于第八届全国残运会在杭州召开之际献演,得到运动员们的良好反响。
昆曲“入遗”十年来,保护传承取得了不少成绩。程伟兵告诉我们,现在剧团的演出活动相对于过去已经有所的增加。而在过去,剧团举步维艰,鼓励团员发展第三产业,甚至在黄龙洞包下一个鱼塘,交由程伟兵管理。为了增加更多的演出,程伟兵也曾寻找到一个在钱王祠古戏台上演出的机会,并给剧团带来了不错的收益。 程伟兵相信,总有一天,昆曲在内地也能够像在台湾一样广受欢迎。
(本文照片由作者提供)
Cheng Weibin: a Talented Kunqu Opera Performer
By Sha Zhou and Wang Yi
When music sounds, a bald tough male performer strides onto the stage. He holds a microphone in the left hand, singing, in Kunqu Opera style, “Nostalgia at Red Cliff,” a Ci-poem by Su Dongpo (arguably the greatest poet of the Song Dynasty 960-1279), while painting a facial mask on his own face with a brush pen held in the right hand. After a few minutes, a Peking Opera mask of Justice Bao is done. The performer uses no mirror in the whole process and he paints from memory and years of practice. As music stops, the audience bursts into applause for this wonderful performance.
This is Chen Weibin, one of the most famous elder male character players in Kunqu Opera. He is the deputy leader of Zhejiang Kunqu Opera Troupe.
Born in Huzhou City in northern Zhejiang, Cheng Weibin is nearly 1.8-meter tall. He has bushy brows, big eyes and a delightfully resonant voice. Cheng’s family is a typical family of theater actors of modest renown. Both his parents and his grandfather were opera performers. As a boy, Cheng learned basic performing skills from his grandpa, which prepared him for a future theater career.
After the Chinese Cultural Revolution, troupes in Zhejiang began to recruit young talents. Cheng came forward as a candidate. In Hangzhou, he took the entrance examination hosted by Zhejiang Kunqu Opera Troupe. Zhou Chuanying, a veteran Kunqu Opera performer of Zhejiang Kunqu Opera Troupe, liked Cheng’s voice quite a lot, thinking the voice was resonant and extraordinary. Zhou asked the young man if he could do somersaults. Cheng looked up at the ceiling of the room and commented that he could touch the ceiling if he somersaulted. Cheng was recruited.
Kunqu Opera traditionally gives the best play to the Xiaosheng (young man character) player and always treasures talents who will turn out to be charming young men on stage. Cheng ran into a dilemma caused by this tradition. He was young, handsome and talented. He had every reason to be considered a hopeful for the Xiaosheng character. Mr. Xie, a leader of the troupe, came to see Cheng a month after he joined the troupe and wanted him to focus on playing Xiaosheng. The singing style of Xiaosheng and Laosheng in Kunqu Opera are different. The Xiaosheng performer sings falsetto while the Laosheng character does not. A week after he practiced the Xiaosheng, Cheng found his voice went wrong. Zhou Chuanying came to his rescue, suggesting that the young man should train as a Laosheng character so as to keep the wonder of his voice. That is how Cheng became a Laosheng performer. Recommended by Zhou, Cheng went to Beijing to study under Hou Shaokui, a celebrated Laosheng player with Beijing Kunqu Opera House. Unfortunately, Hou was in hospital. Hou recommended Cheng to take lessons from Gao Shenglin, a Peking Opera Laosheng master. The special treatment Cheng received from the masters was largely due to his special voice. They had not heard such a young wonderful Laosheng voice for a long while.
After he returned to Zhejiang Kunqu Opera Troupe, Cheng continued to learn Kunqu Opera from Bao Chuanduo and Shen Chuankun. After Wang Shiyu, who used to be the best Xiaosheng character of the troupe, had been transferred to another troupe to coach young women performers, Cheng became a main lead man of the troupe. He stepped into the vacancy created by Wang Shiyu and acted his roles. Singing the arias of the “Great Xiaosheng” character, a role especially for gods, emperors and other heavyweight heroes, Cheng used his special Laosheng singing style. The voice offers an unconventional appeal. Theatergoers went wild and fell in love with him. They are still in love with him.
Over years, Cheng Weibing has appeared in many plays of Kunqu Opera. One of the two best characters he has performed in his career is Li Guinian in a play about the romance of an emperor and his concubine. Although only a supporting character in the play, Cheng sings a 50-minute aria. He learned it over a period of six months under the tutelage of two masters of the troupe. Bai Xianyong, a Taiwan-based novelist and a celebrated champion of Kunqu Opera over the past decades, once praised Cheng for his excellence, saying that no one on the mainland had outperformed Cheng Weibing in this play in nearly a decade. In 2003, Cheng was invited to stage his 50-minute aria in Taiwan, which is known for its large number of Kunqu Opera enthusiasts.
Chen is widely recognized one of the best Kunqu Opera artists. He was chosen with other 15 opera artists to present a show of highlights of Peking Opera and Kunqu Opera plays at Musikverein Vienna.
Kunqu Opera is listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO since 2001. Cheng Weibin believes that with the efforts of him and other Kunqu Opera artists, this traditional Chinese art form will go on to flourish. (Translated by Danni)