葉勇期

20年前，當(dāng)時(shí)還是溫州歌舞團(tuán)編導(dǎo)的邢時(shí)苗結(jié)識(shí)了蓋叫天的嫡孫張善麟，看到了蓋叫天口述自傳《粉墨春秋》，大為震撼，從此與蓋派藝術(shù)結(jié)下深厚感情。

20年后，已經(jīng)成為國(guó)內(nèi)首屈一指的舞臺(tái)導(dǎo)演的邢時(shí)苗，帶著他一手執(zhí)導(dǎo)的歌舞劇《粉墨春秋》，于澳大利亞中國(guó)文化年之際，在全球著名的悉尼歌劇院亮相，開(kāi)創(chuàng)了中國(guó)歌舞劇的先河，也讓當(dāng)?shù)氐睦贤夂腿A人們見(jiàn)識(shí)了中國(guó)梨園春秋和蓋派藝術(shù)的傳奇。

三天四場(chǎng)的演出中，鮮花和贊譽(yù)如潮而來(lái)，但期間的一個(gè)細(xì)節(jié)卻打動(dòng)了我：一位名叫楊海鷹的鳳凰臺(tái)駐澳記者閑聊中談起：出國(guó)之前，他曾經(jīng)是浙江話劇團(tuán)的演員—這一說(shuō)，引開(kāi)了大家的話匣子：編導(dǎo)邢時(shí)苗說(shuō)，他是溫州人，曾經(jīng)在浙江歌舞劇團(tuán)工作；戲曲導(dǎo)演張善麟說(shuō)，爺爺蓋叫天定居杭州后，他也算是杭州人了，是浙江京劇團(tuán)的成員—大家恍然，原來(lái)，這次《粉墨春秋》的上演，還充滿著浙江元素。

編導(dǎo)：融合浙江舞蹈的氣質(zhì)

《粉墨春秋》之前，邢時(shí)苗已經(jīng)先后8次擔(dān)綱中央電視臺(tái)春節(jié)聯(lián)歡晚會(huì)的舞蹈總監(jiān)和現(xiàn)場(chǎng)導(dǎo)演，多次出任《同一首歌》《心連心》等大型晚會(huì)的策劃、導(dǎo)演。他所創(chuàng)作的優(yōu)秀作品成為中國(guó)舞蹈的典范之作，是近年來(lái)溫州舞蹈界當(dāng)之無(wú)愧的“才子”。其中最具影響力的當(dāng)屬獲得“我最喜愛(ài)的春節(jié)晚會(huì)節(jié)目”歌舞類一等獎(jiǎng)的《飛天》。舞蹈《飛天》是2008年央視春晚的一大亮點(diǎn)，舞者的一條腿始終固定在舞臺(tái)上，只依靠身體和另一條腿來(lái)完成表演，既糅進(jìn)了雜技藝術(shù)的驚險(xiǎn)，又具有舞蹈語(yǔ)匯的唯美，構(gòu)思十分巧妙，給廣大觀眾留下了深刻印象。

然而，完成一部融合浙江氣質(zhì)的戲曲、舞蹈精華的舞劇精品，是這位溫州杰出編導(dǎo)多年來(lái)的夙愿。

2003年，邢時(shí)苗請(qǐng)香港著名作家李碧華寫劇本，李碧華破例為舞劇創(chuàng)作。一年半之后《武生》寫成，這是其創(chuàng)作電影《霸王別姬》后，又一部聚焦梨園的劇作，也成為舞劇《粉墨春秋》的文學(xué)腳本?！鞍选栋酝鮿e姬》改編成舞劇，我的這個(gè)設(shè)想比陳凱歌拍電影要早好幾年，可惜行動(dòng)晚了。所以，這次請(qǐng)李碧華為《粉墨春秋》編劇要搶個(gè)先?！毙蠒r(shí)苗說(shuō)，“我自信這是一部?jī)?yōu)秀的作品，因?yàn)槲医柚藨蚯@座大山，也就是站在了巨人的肩膀上?！薄斗勰呵铩穼鹘y(tǒng)戲曲文化表現(xiàn)得淋漓盡致，這種對(duì)藝術(shù)的“再藝術(shù)”，是舞劇的一大亮點(diǎn)。

氣勢(shì)磅礴的髯口舞，椅背和戲臺(tái)護(hù)欄上的高蹺舞，如行云流水般的水袖舞，還有將京劇靠旗引申編創(chuàng)的靠旗舞……各式各樣帶著蓋派風(fēng)采的戲曲絕活被融入舞蹈，幾次掀起表演高潮，也證明了浙江氣質(zhì)戲曲被澳洲觀眾所接受。

主演：源自浙江山水的孕育

《粉墨春秋》的主演黃豆豆是當(dāng)今中國(guó)舞臺(tái)藝術(shù)界最炙手可熱的舞者，也是又一位來(lái)自浙江的主創(chuàng)。

黃豆豆是溫州人，他的父親和《粉墨春秋》的總導(dǎo)演邢時(shí)苗是好朋友。浙江溫婉的山水孕育了黃豆豆從小酷愛(ài)跳舞的性格，通過(guò)不懈努力，黃豆豆終成大器。

邢時(shí)苗說(shuō)：“我是看著豆豆一路成長(zhǎng)的，早在1995年他擔(dān)任央視春節(jié)聯(lián)歡晚會(huì)導(dǎo)演時(shí)，當(dāng)黃豆豆在角落的一張桌子上苦練《醉鼓》時(shí)，我就聯(lián)想到了前不久在蓋叫天大師嫡孫張善麟家里看到的蓋叫天口述自傳《粉墨春秋》。蓋老年輕時(shí)跟豆豆一樣，都是個(gè)子矮、先天條件不夠好的演員，他們都是通過(guò)后天的不懈努力終于成材的典范。蓋老是戲癡，豆豆是舞癡，他們這種視藝術(shù)如生命的執(zhí)著激發(fā)了我的靈感。”

舞劇是舞蹈最高藝術(shù)形式，也是沒(méi)有語(yǔ)言和國(guó)界限制的舞臺(tái)藝術(shù)，再加以中華博大精深的戲曲，這個(gè)創(chuàng)意讓當(dāng)時(shí)年僅20歲的黃豆豆以及其他藝術(shù)家興奮不已。但邢時(shí)苗按捺不動(dòng)，他對(duì)黃豆豆說(shuō)：“你現(xiàn)在太年輕，這部劇文化底蘊(yùn)很深，你還不夠格，過(guò)幾年再說(shuō)?！秉S豆豆28歲那年又碰到邢時(shí)苗，就問(wèn)：“我現(xiàn)在能演了嗎？”邢時(shí)苗還是搖頭：“一個(gè)真正的藝術(shù)家是要具備深厚的底蘊(yùn)和閱歷的，你閱歷還不夠，過(guò)幾年再說(shuō)?！庇谑牵且荒?，黃豆豆選擇了申請(qǐng)獎(jiǎng)學(xué)金去美國(guó)留學(xué)。一直到兩年前再次碰到邢時(shí)苗，黃豆豆又問(wèn)：“我現(xiàn)在能演了嗎？”邢時(shí)苗回答：“現(xiàn)在可以了。”

邢時(shí)苗為此劇積蓄了16年，黃豆豆為此劇等待了16年，16年的等待成就了舞臺(tái)上一個(gè)頂天立地的武生形象，也成就了這位浙江舞者的人生。黃豆豆說(shuō)：我用這部劇完成一個(gè)演員向舞劇致敬、向國(guó)粹致敬的夢(mèng)想！著名舞蹈評(píng)論家馮雙白看了《粉墨春秋》后贊美道:“黃豆豆在該劇中塑造的藝術(shù)形象達(dá)到了他自己的巔峰狀態(tài)，黃豆豆的藝術(shù)人生因此劇而完美！”

作為為期一年的“澳大利亞·中國(guó)文化年”閉幕式節(jié)目，《粉墨春秋》在澳洲大陸引起了巨大反響。澳大利亞總理茱莉亞·吉拉德說(shuō)：“《粉墨春秋》登上悉尼歌劇院演出是中澳雙方不平凡關(guān)系最恰當(dāng)不過(guò)的注腳，彰顯出澳大利亞和中國(guó)藝術(shù)的絕佳境界。所有的觀眾都會(huì)盡享因華美服飾和活力舞蹈而著稱的這次演出。”

觀看這次演出的文化部副部長(zhǎng)趙少華也給予了《粉墨春秋》極高評(píng)價(jià)，她對(duì)該劇的主創(chuàng)人員說(shuō)：“這次出演澳洲的大戲，國(guó)內(nèi)有好多演出團(tuán)體想來(lái)參加，但悉尼歌劇院歌劇廳觀眾的掌聲告訴我們，《粉墨春秋》演出太精彩了，為中澳文化年的成功舉辦錦上添花，為中國(guó)增了光！”

當(dāng)然，我還覺(jué)得，《粉墨春秋》不僅是中國(guó)與澳洲的成功文化交流，更是浙江氣質(zhì)在國(guó)際大舞臺(tái)上的又一次成功呈現(xiàn)?！?/p>

（本文照片由張善麟提供）

Zhejiang Elements in Year of Chinese Culture in Australia

By Ye Yongqi

“Opera Warriors”, a dance drama based on the life of Gai Jiaotian and directed by Xing Shimiao, celebrated the closing of the Year of Chinese Culture in Australia. The dance drama was presented at the Opera Theater, Sydney Opera House with four shows from 14 to 16 June 2012.

The dance drama is a show of Zhejiang elements.

The story is based on the life story of Gai Jiaotian (born as Zhang Yingjie, 1888-1971, a Peking Opera master of national renown who spent his last decades in Hangzhou). Originally, “Opera Warriors” is the title of his biographical narrative. Xing Shimiao read the memoir and met Zhan Shanlin, a grandson of the master kongfu actor, 20 years ago. Then a burgeoning choreographer, Xing was amazed by the kongfu art of Gai Jiaotian. The idea of making a dance version of the narrative took roots in his heart. Recalling the originality of the idea, Xing notes that he got the idea a few years earlier than director Chen Kaige did. Chen directed Farewell My Concubine, a film based on the namesake Peking Opera Drama.

Xing is a native of Wenzhou, a port city in southern Zhejiang Province. He worked as a choreographer for Zhejiang Song and Dance Ensemble before moving to Beijing. He had jointly directed and supervised eight Spring Festival galas for CCTV before he choreographed Opera Warriors.

In 2003, Xing engaged Ms Pik Wah Li (Lilian Lee) to write a script for the dance drama he had wanted to do for a long while. Li was one of the coauthors who wrote the screenplay Farewell My Concubine that won the Golden Palm at the Cannes Film Festival in 1993.

With the script ready, the inspired choreographer introduced into the dance drama many of the kongfu moves highlighted by Gais Peking Opera art. Many moves are most applauded parts.

The lead dancer is Huang Doudou, one of the best dancers in China and another Wenzhou native that plays a big part in the success of this dance drama. Huangs father is a friend of Xing. Xing says that he is a witness to how Huang has matured and blossomed into a celebrated dancer. In the 1995 Spring Festival gala, Xing saw Huang rehearse on the top of a dinner table at the rehearsal hall. The hard-working young dancer reminded Xing of Gai Jiaotian in his youth. Like Gai Jiaotian, Huang is a man of short stature and with some physical imperfections. Both succeeded thanks to their commitment and hard work.

When Huang learned about Xings big idea for a dance drama, the young dancer could not hold himself. At that time, he was 20 and he wanted the lead role. Xing said he was too young. Eight years later, Huang asked Xing whether he was mature enough for the character. Xing asked him to wait another few years.

Huang, now 36, is mature for the character of a Peking Opera kongfu player. He says that by this role he pays respects to Gai Jiaotian, to dance drama, to traditional Chinese art. Feng Shuangbai, a noted dance critic, comments that Huang reaches a career high through this dance drama.

There are more Zhejiang elements in the dance drama. Zhang Shanlin, the grandson of Gai Jiaotian, acts as advisor to the drama. In Australia, he met with old friend Lu Zhongtang, a Zhejiang native who studied Peking Opera under the tutelage of Zhang Erpeng, the second son of Gai Jiaotian. Many audience members who watched the show in Sydney were from Zhejiang and had watched Gai Jiaotians performance before.

Opera Warriors caused a sensation in Australia, bringing the Year of Chinese Culture to highly memorable conclusion. □