阮黎帆

“曾記得，菊花賦詩奪魁首，海棠起社斗清新，怡紅院中行新令，瀟湘館內(nèi)論舊文”，浪漫輕柔的鋼琴伴奏越劇《紅樓夢(mèng)》選段凄美地縈繞在座無虛席的杭州劇院內(nèi)。林黛玉弱柳扶風(fēng)的形象和膾炙人口的王派唱腔，引來場(chǎng)內(nèi)掌聲雷動(dòng)……已很久沒有這種體驗(yàn)了，前陣子這場(chǎng)《“琴越”獨(dú)唱音樂會(huì)》，著實(shí)讓筆者被驚艷到了。

簡(jiǎn)潔大氣的舞臺(tái)上，著一襲粉色繡花禮服的中國戲劇梅花獎(jiǎng)得主、著名越劇演員陳曉紅清麗優(yōu)雅、楚楚動(dòng)人，她正與浙江音樂學(xué)院鋼琴系教授陳瓊聯(lián)袂演繹“琴越”獨(dú)唱音樂會(huì)。隨著越劇《紅樓夢(mèng)》《白蛇傳》《班昭》，新版越劇《梁祝》，滬劇《金絲鳥》，昆曲《牡丹亭》等多劇種多聲腔呈現(xiàn)，她的演唱如行云流水般不絕如縷，其千回百折、旖旎唯美“嗨”翻了全場(chǎng)觀眾，鮮花與掌聲相伴始終，直到音樂會(huì)落下帷幕。有觀眾說，聽過鋼琴伴奏京劇，卻第一次欣賞鋼琴與越劇聯(lián)手演繹這獨(dú)特的美，很享受這份新穎和別致，由衷為這種大膽探索和嘗試點(diǎn)贊。

陳曉紅，這位在舞臺(tái)上塑造過系列鮮明藝術(shù)形象的越劇表演藝術(shù)家，眼下的新身份是：浙江音樂學(xué)院戲劇系教師。其實(shí)，這場(chǎng)“琴越”獨(dú)唱音樂會(huì)，是她華麗轉(zhuǎn)身后的第二部作品。

藝海無涯學(xué)作舟

認(rèn)識(shí)陳曉紅，大概有十年了。記得那時(shí)她是杭州越劇團(tuán)的當(dāng)家花旦，被“暫借”來浙江小百花越劇團(tuán)與茅威濤搭戲，飾演新版越劇《梁?！分械淖Ｓ⑴_(tái)。能被頂級(jí)越劇院團(tuán)浙江小百花“相中”，與名家演對(duì)手戲，想必她的演技、唱腔在圈內(nèi)已是好生了得。新版越劇《梁?！饭莺蠛迷u(píng)如潮，各地巡演邀約不斷。在去臺(tái)灣演出途中，筆者與陳曉紅有了些接觸。很喜歡看她舞臺(tái)上的祝英臺(tái)形象，那一顰一笑一轉(zhuǎn)身的自如靈動(dòng)和拿捏，欣賞她的角色把控和駕馭能力，尤其喜聽她婉轉(zhuǎn)細(xì)膩、極富韻味的唱腔，簡(jiǎn)直就是不可多得的美妙享受。

感覺她在臺(tái)下淡泊寧靜，很少與人閑聊和空談，常獨(dú)處、看書或一副若有所思的樣子，這種特立獨(dú)行“范兒”在戲曲演員圈里似乎有些不合時(shí)宜。與陳曉紅熟悉后，才發(fā)現(xiàn)她其實(shí)是個(gè)率真活躍，很有想法和個(gè)性的人。

喜歡閱讀的她，身上彌漫著淡淡的書卷氣，這在戲曲演員中并不多見。一般戲曲演員小小年紀(jì)就入行學(xué)戲，文化基礎(chǔ)薄弱。而13歲開始學(xué)戲的曉紅，卻從未停止過讀書。1985年已學(xué)藝三年的她，從桐廬越劇培訓(xùn)班考入浙江藝術(shù)學(xué)校，如饑似渴地學(xué)了三年專業(yè)和文化，畢業(yè)成績(jī)名列前茅。進(jìn)入杭州越劇院后，忙排戲演戲、結(jié)婚生子，還自考上杭師院音樂系，之后學(xué)了中文專業(yè)，一邊練功，一邊讀書，一邊參與各種專業(yè)賽事，忙得不可開交，卻什么也沒耽誤。她主演的《胭脂河》《玉蜻蜓》《梨花情》等角色異彩紛呈，好評(píng)有加。其間，還將中國戲劇“梅花獎(jiǎng)”、文化部“文華表演獎(jiǎng)”盡收囊中。此后，曉紅又瞄上了上海戲劇學(xué)院導(dǎo)演專業(yè)，學(xué)的課程之多讓她應(yīng)接不暇。已過不惑之年的她，竟考取了上海戲劇學(xué)院藝術(shù)碩士研究生。于是，她頻繁往返奔波于上海、杭州和各演出地之間。

“有時(shí)為了能趕上第一節(jié)課，頭天晚上在椒江某村演出，輾轉(zhuǎn)一夜，第二天一早就坐在上戲的課堂聽課了，將田埂的泥巴直接帶到了教室里?！比甑钠D辛，哪是她說的這般云淡風(fēng)輕？想必是使出了洪荒之力的。但遨游于藝術(shù)知識(shí)海洋的她，忙并快樂著。聽過各藝術(shù)門類大師講課，完成了研究生課程和十多篇論文，她成了越劇界第一個(gè)MFA藝術(shù)碩士。

梅花香自苦寒來

顯然，陳曉紅日漸成熟的表演水平和不斷提升的角色塑造能力，得益于她善學(xué)習(xí)、愛思考的習(xí)慣，更與她開闊的視野和良好的綜合學(xué)養(yǎng)不無關(guān)系。如她在越劇《班昭》里，飾演東漢時(shí)期博學(xué)高才的女史學(xué)家、文學(xué)家班昭，要從14歲天真少女演到71歲垂暮之年，且要表現(xiàn)出角色骨子里那股書卷氣和修養(yǎng)，如果沒有“上戲”的這幾年學(xué)習(xí)和積累，恐怕難以應(yīng)對(duì)這樣的挑戰(zhàn)。演出成功后，她由衷地慶幸“讀書真好！”

之后，陳曉紅又在經(jīng)典名劇《紅樓夢(mèng)》中飾演林黛玉。當(dāng)時(shí)已40多歲的她心中忐忑，自己能演好一個(gè)十多歲的青春美少女嗎？王文娟飾演的林黛玉早已家喻戶曉，標(biāo)桿太高了，觀眾對(duì)黛玉也有審美定勢(shì)，真是壓力山大。面對(duì)挑戰(zhàn)，她再次通讀原著《紅樓夢(mèng)》，又幾乎看遍所有版本的《紅樓夢(mèng)》影視片、理論書籍及話題評(píng)論，還做了大量案頭筆記。黛玉為什么愛哭？為什么易惱？為何葬花、焚稿、求死？孱弱的外表內(nèi)包裹著一顆怎樣的心？她不斷拷問、感受著角色的內(nèi)心邏輯，揣摩黛玉形象、捕捉黛玉神情，從自身氣質(zhì)、神情、聲音造型中尋找與角色的契合點(diǎn)，力求精準(zhǔn)把握其“神”與“形”。

通過兩個(gè)多月的排練，原本氣質(zhì)較硬朗的陳曉紅脫胎為蹙眉愛哭、多愁善感、柔弱病態(tài)、才情橫溢、孤高自詡的林黛玉。人們耳熟能詳?shù)倪@一個(gè)“林黛玉”生動(dòng)、空靈地“活”在了越劇舞臺(tái)上。該劇先后到北京、山東、江蘇、上海、寧波、紹興等地演出，所到之處反響熱烈。有評(píng)論認(rèn)為，陳曉紅飾演的林黛玉是“最具文化氣質(zhì)的林黛玉”。

面對(duì)掌聲和好評(píng)，她說：“要感謝恩師王文娟，為我打開了一扇嶄新的藝術(shù)之門，讓我領(lǐng)會(huì)到王派藝術(shù)的精髓。每一部劇的演出成功，都應(yīng)該是一段積淀后的重新開始?！?/p>

演員這個(gè)職業(yè)，很多人視作飯碗，而于陳曉紅，卻是一份事業(yè)，一種目標(biāo)追求。如果說，當(dāng)年曉紅選擇越劇是懵懂被動(dòng)的，那么從藝后，尤其是在杭越27年的舞臺(tái)實(shí)踐，讓她在越劇表演藝術(shù)方面已頗有造詣和建樹。30多年來，陳曉紅的演出足跡踏遍了祖國大江南北，也曾出訪日本、新加坡、加拿大及我國的香港特區(qū)、臺(tái)灣地區(qū)演出。

衣帶漸寬終不悔

照理，這么鐘愛演藝事業(yè)，該一直往前走才是，為何事業(yè)如日中天的臺(tái)柱陳曉紅要離開舞臺(tái)、義無反顧地轉(zhuǎn)身去音樂學(xué)院做“園丁”？

日前見到洗凈鉛華的陳曉紅時(shí)，她述說緣由：“隨著年齡的增長(zhǎng)、舞臺(tái)經(jīng)驗(yàn)的積累和閱歷的增加，感受到了傳承的重要性，我愿付出辛勞與汗水將前輩越劇藝術(shù)家的藝術(shù)和品格傳承下去，培養(yǎng)出更多優(yōu)秀的人才登上戲曲表演藝術(shù)這方舞臺(tái)?！睍约t追憶道，學(xué)藝初期，因形象、嗓子、基本功平平，令她幾乎失去自信，幾度想打退堂鼓;即便考入省藝校，面對(duì)佼佼者如林，自己也乏善可陳，是張?zhí)m珠、俞珍珠、王文娟等恩師鼓勵(lì)、引領(lǐng)她揚(yáng)長(zhǎng)避短，走好每一步，這才有了今天的藝術(shù)成就?！八囆g(shù)新苗能遇上良師是何等幸運(yùn)，將受益終身，這就是我轉(zhuǎn)身的初衷?！庇谑?，陳曉紅在2015年以人才引進(jìn)的方式，被調(diào)入浙江音樂學(xué)院戲劇系，做了一名專任教師。

要培養(yǎng)優(yōu)秀表演藝術(shù)人才，既要不斷提升自身素養(yǎng)，也應(yīng)當(dāng)不斷磨練自身技藝，在求索中形成和完善科學(xué)的教學(xué)方式。她說：“從這個(gè)意義上說，我并沒有離開舞臺(tái)，而是走入了一個(gè)新的、更大的舞臺(tái)?！?/p>

為此，2016年8月陳曉紅在中國婺劇院舉辦了集多劇種和文武戲?yàn)橐惑w的“筑夢(mèng)路上：陳曉紅表演藝術(shù)專場(chǎng)”，展示自己在藝術(shù)道路上艱辛求索的成果。無論是出場(chǎng)時(shí)的柔弱才女“林黛玉”，還是壓軸的昆曲武戲《扈家莊》，她的表演均可圈可點(diǎn)，獲得了滿堂彩。尤其是她演的扈三娘武功灑脫、唱腔清亮，剛?cè)岵?jì)，讓人眼睛一亮，觀眾叫好聲不絕。

走上講臺(tái)后，她主教越劇表演課程，每周16節(jié)課。“與學(xué)生們?cè)谝黄?，看著他們的點(diǎn)滴進(jìn)步，忙碌而開心?！彼娴暮苊Α３松险n，就是籌備有關(guān)課題和項(xiàng)目，一年一個(gè)演出項(xiàng)目，幾乎占用了她所有的業(yè)余時(shí)間;每月有越劇演出活動(dòng)或講座、聽課，暑假高溫天也沒閑著，聽課和項(xiàng)目計(jì)劃排得滿滿當(dāng)當(dāng)……她利用各種方式尋師求學(xué)，提升自我，從中覓取傳統(tǒng)教育與現(xiàn)代教學(xué)之間融合點(diǎn)。

如今的陳曉紅，不是在浙江音樂學(xué)院的課堂上講課，就是在去聽別人講課的路上。她的跨界并不輕松，是從演員到教員、從舞臺(tái)到講臺(tái)、從實(shí)踐到理論的全新起點(diǎn)。

然而，陳曉紅在轉(zhuǎn)身后更優(yōu)美，她在講臺(tái)上辛勤播種和耕耘，培育戲曲桃李滿天下，拓展自己生命的寬度和高度。

The 49-year-old Yueju Opera artist Chen Xiaohong has long since turned her attention to teaching. She is a winner of Meihua Award， Chinas top honor for theater performing artists. She is also a winner of Wenhua Award， an honor issued by the Ministry of Culture for artistic brilliance.

Unlike some other artists， she has been enriching herself by reading books and taking advanced courses since she started her performing career at the age of 13. In 1985， the 16-year-old enrolled herself into Zhejiang Academy of Performing Arts. Three years later she graduated with top honors. She was employed by Hangzhou Yueju Opera Troupe. These years she was busy： she appeared in various plays， got married and gave birth to a son while she took an advanced course at Hangzhou Normal University and then engaged herself in a Chinese language course.

While she studied very hard and busily， she missed nothing in her career， as testified by the top honors she won at the national level. Then she enrolled herself into a theater direction course at Shanghai Theater Academy. After she was 40， she even passed the entrance examination and became a graduate student at the academy in Shanghai. The three-year graduate study got her into a difficult situation. She had to shuttle fast between her road shows across the province and Shanghai where the academy is. The schedule could be tight： one evening she was performing on a village stage far away from anywhere and the next morning she was sitting in a classroom on the campus of the academy in Shanghai. She is the first Master of Fine Arts in the Yueju Opera circles of Zhejiang.

Her studies have helped her career as a performing artist.

In ， a Yueju Opera play that features a namesake woman historian of the Han Dynasty （202BC-220AD）， Chen Xiaohong appeared as the lead woman. The play covered the life of the historian and Chen evolved from a 14 year old girl to a 71-year-old matriarch within a few hours. The character required her to look scholarly and speak scholarly. She owed the successful characterization to the education she had received.

Her characterization of Lin Daiyu， heroine of ， was another proof of her advanced studies. She was in her 40s when she was chosen for the lead woman in the Yueju Opera presentation. Wang Wenjuan， a master under whose tutelage Chen had studied， is the best Lin Daiyu on the stage and on the big silver screen in the national memory. Audiences know how the perfect Lin Daiyu speaks and sings. To create her own Lin Daiyu， Chen Xiaohong read the novel， watched all the film and television adaptations of the classic， and studied criticisms and commentaries concerning the character. She jotted down a thick pile of notes asking questions and formulating answers and conducting minute analyses. The homework paid off. The character she created satisfied the expectation of the audience. A critic said that Chens was the most cultured Lin Daiyu.

In 2015， she was officially transferred to the Theater Department of Zhejiang Observatory of Music. She explained her motivation this way： “I would like to teach what I learned from my masters and help to cultivate a new generation of Yueju Opera talents. Learning from my career experience， I am fully aware of the significance of teaching and learning.” She recalled that she almost lost her confidence at the start of her learning， thinking herself mediocre in everything and probably there would be no future for her. Her masters did not agree with her. They encouraged her and guided her carefully through difficulties and helped her give full play to her strengths. “Masters teachings can benefit young talents all their careers. Thats why I decided to be a teacher，” she concluded.

Again， she is busy. She teaches 16 classes a week， focusing on the performing art of Yueju Opera. Her work schedule also includes lectures she must give or attend and a monthly workload as a Yueju Opera star. In her spare time， she prepares her own annual performing project. One of her latest projects was her vocal concert at which， she sang arias from various regional operas in the accompaniment of piano. It was something no one had ever tried in Yueju Opera performance. In August 2016， she held a solo concert. At the concert， she not only sang arias but also showed her kungfu stunts.