一張

新編越劇《游子吟》情動京城，超強陣容傳唱慈孝故事——

4月26日，歷時近3年創(chuàng)作、精彩感人的新編越劇《游子吟》，在北京國家大劇院隆重登場。這場由浙江德清縣委、縣政府和浙江越劇團(tuán)聯(lián)合打造的文化盛宴，現(xiàn)場收獲臺下平均5分鐘一次的掌聲。在婉轉(zhuǎn)柔情的唱腔感染下，北京觀眾為跌宕起伏的劇情流淚、動容，感受戲里戲外的慈孝文化和家國情懷。

引人注目的文化新現(xiàn)象

這次演出陣容很強。中國戲曲學(xué)院戲文系教授、碩士研究生導(dǎo)師、著名編劇顏全毅擔(dān)任編劇，著名戲曲導(dǎo)演楊小青擔(dān)當(dāng)導(dǎo)演。國家一級演員、第26屆中國戲劇梅花獎獲得者王濱梅，優(yōu)秀青年演員汪舟格，國家一級演員、第25屆中國戲劇梅花獎獲得者華渭強，用他們精湛的演技分別刻畫出孟郊母親、孟郊以及教書先生的形象，演繹了令人震撼和感動的中國式母子情。無論是創(chuàng)作班底還是演出陣容，新編越劇《游子吟》聚集了浙江越劇團(tuán)老、中、青三代優(yōu)秀演員。

近年來，先后有德清縣政府與杭州越劇團(tuán)合作創(chuàng)排《德清嫂》；松陽縣政府與浙江越劇團(tuán)合作創(chuàng)排《張玉娘》；德清縣政府與浙江越劇團(tuán)合作創(chuàng)排《游子吟》；遂昌縣政府與浙江越劇團(tuán)合作創(chuàng)排《牡丹亭》；天臺縣政府與浙江歌舞劇院共同創(chuàng)排音樂劇《天臺遇仙》；中央歌劇院、武漢市黃陂區(qū)政府聯(lián)合寧波市演藝集團(tuán)共同創(chuàng)作舞劇《花木蘭》等。

這種資源共享、合作雙贏，彌補藝術(shù)創(chuàng)作演出不平衡、不充分的發(fā)展現(xiàn)狀，滿足地方藝術(shù)創(chuàng)作的熱情與需求，省屬院團(tuán)創(chuàng)新服務(wù)模式，正成為當(dāng)下舞臺藝術(shù)創(chuàng)作生產(chǎn)中一個新的文化現(xiàn)象。

正如德清縣文廣新局負(fù)責(zé)人表示：“我們借助專業(yè)團(tuán)體的范式，最大限度地整合本地民間文藝資源，把文化‘引進(jìn)來，讓優(yōu)秀文化惠及杭州德清，最終雙方受益?！?h3>專業(yè)院團(tuán)服務(wù)地方的新模式

由于歷史的原因，浙江的藝術(shù)創(chuàng)作和演出資源的分布很不平衡。比如，麗水、湖州均沒有專業(yè)的戲曲劇團(tuán)，嘉興只有海寧越劇團(tuán)，而紹興僅專業(yè)越劇團(tuán)就有紹興、諸暨、嵊州、上虞4個，其他還有紹劇團(tuán)、新昌高腔劇團(tuán)等。

隨著浙江經(jīng)濟(jì)的發(fā)展和人民生活水平的提高，各地市對精神文化產(chǎn)品的需求日益強化。他們急切希望挖掘地域文化題材并打造成藝術(shù)產(chǎn)品，來凝聚人心、服務(wù)當(dāng)?shù)厝罕?，但苦于缺少藝術(shù)創(chuàng)作資源，一時也難于興辦劇團(tuán)；而省屬院團(tuán)的創(chuàng)作演出資源豐碩，同時也正在尋找服務(wù)社會與基層的機(jī)會。這樣一來，兩者的對接無疑滿足了各自的需求。

浙江越劇團(tuán)最早是在2013年打造越劇現(xiàn)代戲《我的娘姨我的娘》時開始同地方政府合作。當(dāng)時由于這個題材來自臺州玉環(huán)縣，為了做好采風(fēng)和創(chuàng)作工作，打造好這個劇目，浙江越劇團(tuán)同玉環(huán)縣委、縣政府和宣傳部門進(jìn)行了接洽。當(dāng)?shù)卣矊υ搫∧壳捌诘膶嵉夭娠L(fēng)、座談、研討、體驗生活以及相關(guān)宣傳片的拍攝給予了很大支持，并為劇目豐富了翔實感人的生活細(xì)節(jié)，使該劇目創(chuàng)作演出得以成功。該劇在2014年獲得了中宣部第十三屆精神文明建設(shè)“五個一工程獎”。

有了這次成功的合作經(jīng)驗，隨后浙江越劇團(tuán)又先后與遂昌、松陽、德清等地合作了越劇音樂劇《牡丹亭》以及原創(chuàng)歷史傳記劇《張玉娘》《游子吟》。從一開始的主動出擊，到后來地方政府主動上門要求與專業(yè)院團(tuán)合作，雙方的資源共享、合作互補工作做得越來越好。

“通過與地方政府合作，劇團(tuán)為更多演職員爭取了藝術(shù)實踐的機(jī)會，讓更多的人才脫穎而出，完善了越劇男女合演藝術(shù)人才的梯隊建設(shè)。劇團(tuán)創(chuàng)作的劇目多了，增強了劇目儲備和劇團(tuán)的藝術(shù)積淀?！闭憬絼F(tuán)團(tuán)長陶鐵斧說。

青年演員謝莉莉通過《我的娘姨我的娘》《牡丹亭》《張玉娘》這三出大戲的演出實踐，藝術(shù)力能不斷提升，先后榮獲浙江省第十三屆戲劇節(jié)優(yōu)秀表演獎以及“浙江戲劇獎·金桂表演獎”；而青年演員汪舟格，也正是因為在與德清越劇團(tuán)合作的《游子吟》中扮演男一號孟郊，專業(yè)能力得到顯著提升，已經(jīng)成為浙江越劇團(tuán)新一代越劇男演員中的佼佼者。

藝術(shù)創(chuàng)作機(jī)制的新嘗試

舞臺藝術(shù)創(chuàng)作機(jī)制需要綜合性人才隊伍，而對地方院團(tuán)來說，鮮少有演藝團(tuán)隊能夠齊集各類人才。因此，打破地域和層級限制，充分挖掘本地的潛力，借力全市、全省、全國乃至全球的藝術(shù)資源，成為突破創(chuàng)作瓶頸、創(chuàng)新合作模式的主要著力點。

2013年，寧波市演藝集團(tuán)與中央歌劇院合作，創(chuàng)排反映寧波題材的歌劇《紅幫裁縫》，不僅創(chuàng)新了“央地合作”的文化工作機(jī)制，也學(xué)習(xí)借鑒了國家級院團(tuán)的管理方式，帶動了本土創(chuàng)作人員的業(yè)務(wù)提升。合作既是一種資源整合，更是一種雙贏模式。2016年上半年，中央歌劇院主動拋來“橄欖枝”，提出與寧波市演藝集團(tuán)建立長期合作關(guān)系，并最終簽訂了戰(zhàn)略合作協(xié)議。雙方擬在舞臺精品創(chuàng)作劇目、文化產(chǎn)業(yè)項目開發(fā)、結(jié)對幫扶惠民演出、區(qū)域市場開拓等方面開展深入合作，開辟“央地”長期可持續(xù)合作的全新模式，優(yōu)勢互補，共同發(fā)展。

舞劇《花木蘭》就是雙方的合作劇目，由寧波市演藝集團(tuán)的歌舞劇院和中央歌劇院交響樂團(tuán)共同演出。最初投資方湖北黃陂區(qū)政府提出花木蘭題材，寧波演藝集團(tuán)一度認(rèn)為題材老套，遲遲沒有簽訂協(xié)議，并多次奔赴北京召集主創(chuàng)團(tuán)隊反復(fù)研究，集思廣益，最終從“和平女神”入手，架構(gòu)起一個全新形象的“花木蘭”。正是這種精益求精的藝術(shù)質(zhì)量追求，讓投資方十分滿意，將原本的600萬元投資追加至1000萬元。在該劇的創(chuàng)排階段，寧波市演藝集團(tuán)專門從北京引進(jìn)了20個新演員，形成優(yōu)化的人才梯隊。

《花木蘭》由朱海編劇，周莉亞、韓真編導(dǎo)，杜鳴作曲，譚澤恩擔(dān)任舞美設(shè)計，韓江擔(dān)任燈光設(shè)計，王鈺寬擔(dān)任服裝設(shè)計，賈雷擔(dān)任造型設(shè)計師。這些國家一流的主創(chuàng)、精銳的優(yōu)秀演員為該劇的藝術(shù)質(zhì)量提供了堅實的保障。該劇先后亮相國家大劇院、第十五屆亞洲藝術(shù)節(jié)和第四屆世界互聯(lián)網(wǎng)大會，受到中國舞協(xié)、中國音協(xié)、中國劇協(xié)等一大批專家及業(yè)內(nèi)人士的高度評價，也成為地方藝術(shù)團(tuán)體創(chuàng)作國內(nèi)一流作品、走向主流劇場的有益探索。

寧波市演藝集團(tuán)成立以來，先后20余次出訪亞洲、歐洲、美洲、非洲、大洋洲等數(shù)十個國家和地區(qū)，在與國外演藝團(tuán)隊和藝術(shù)家建立良好聯(lián)系的同時，探索借力國際資源，實施中國文化“走出去”戰(zhàn)略。2014年，舞劇《十里紅妝·女兒夢》赴美國演出前，寧波市演藝集團(tuán)邀請美國編導(dǎo)到寧波對全劇作了適合美國市場要求的適應(yīng)性改編，在美國紐約林肯藝術(shù)中心上演，取得極佳效果。2016年新創(chuàng)排的《霸王別姬》，主創(chuàng)陣容全部來自美國，開創(chuàng)了寧波舞臺藝術(shù)作品“國外創(chuàng)作、國內(nèi)制作”的先河。

探索地方文藝精品創(chuàng)作的新路徑

德清擁有深厚的歷史文化底蘊。如何把優(yōu)秀的傳統(tǒng)文化和經(jīng)濟(jì)、生態(tài)發(fā)展的成果以文藝作品的形式呈現(xiàn)出來，這是德清文藝創(chuàng)作的一個主要目標(biāo)。但德清縣內(nèi)沒有專業(yè)的院團(tuán)，打造一支專業(yè)的文藝院團(tuán)需要做大量的準(zhǔn)備工作和時間、資金等投入。面對這一實際，德清縣主動探索、實踐新路徑，以向?qū)I(yè)文藝院團(tuán)借力互補的方式，破解這一難題，打造出《德清嫂》《游子吟》《德清謠》等大型文藝作品和《拍電影》《捉放鳥》《老馬不傻》等走進(jìn)央視的小品節(jié)目。

德清縣與浙江省越劇團(tuán)、杭州越劇院合作，將德清的傳統(tǒng)文化和道德文化以戲曲形式形象化。在合作過程中，德清與省市院團(tuán)共同發(fā)力，取得不俗的成績，實現(xiàn)合作多贏。對德清來說，文藝精品彰顯了文化自信，結(jié)合“文化走親”等活動，提高了德清縣的知名度和美譽度。2012年，德清與杭州越劇院合作創(chuàng)排現(xiàn)代題材越劇《德清嫂》，兩次走進(jìn)國家大劇院演出，入選全國“五個一工程獎”，獲省“五個一工程獎”、浙江省第十二屆戲劇節(jié)“新劇目大獎”等獎項，累計演出200場?！兜虑迳芬殉蔀榈虑逦幕放?。

在《德清嫂》《德清謠》《游子吟》等作品的展演方面，德清創(chuàng)造性地實行兩套班底，即“明星班”和“草根班”。例如，《德清謠》的“明星班”由杭州廣藝舞蹈團(tuán)和上海鼓鼓文化藝術(shù)團(tuán)構(gòu)成，“草根班”由德清本土演員組成，在“明星班”的專業(yè)教授下，主要在全縣文化禮堂巡演，滿足農(nóng)村百姓的文化需求。而《德清嫂》與《游子吟》則由縣里的3個民營劇團(tuán)組成“草根班”。演員來自不同的崗位，理發(fā)店老板、工廠女工、保險公司職員……她們不僅承擔(dān)了《德清嫂》到鄉(xiāng)村、社區(qū)的普及巡演，而且以德清人現(xiàn)身演唱德清事的方式，把公民道德文化建設(shè)的種子播種到各個角落，體現(xiàn)出以一個題材創(chuàng)作出一個精品，—個精品帶出一支隊伍的德清特色。

Zhejiang Theater Finds New Ways to Flourish

By Yi Zhang

Zhejiang used to be a powerhouse of regional operas， which catered to urban and rural audiences across the province in good old days. Nowadays， many opera troupes have vanished， some have flourished and some have been struggling. However， a new approach adopted by local governments and troupes is giving local theater a new boom.

Take a look at ， a Yueju Opera play inspired by and based on the namesake poem by Meng Jiao， a poet of the Tang Dynasty （618-907）. The play is a joint production of Deqing County （Meng Jiao was a native of Deqing） in northern Zhejiang and Zhejiang Yueju Opera Troupe. The cast includes artists from Zhejiang Yueju Opera Troupe and the production team includes top artists such as the scriptwriter Yan Quanyi， a professor with the China Theater Academy and the prominent theater director Yang Xiaoqing. On April 26， 2018， a performance of the play in Beijing brought down the house.

The production of the play was made possible by the new development mode now widely used in theater in Zhejiang. Regional opera troupes in Zhejiang want to create new plays and they have audiences， but lack resources to expand their repertoires. Local governments have funds to support cultural creativities and have ambition to tap into local cultural resources and bring entertainment to local communities. Some counties and cities no longer have an opera troupe but the traditional theatergoers are hungry for theater entertainment. These grassroots troupes dont have top talents for creating top performances for regional， national and global audiences. On the other hand， provincial and national troupes seek funds and opportunities to serve grassroots markets. To solve their problems， regional governments and troupes first reached out to provincial and national troupes. In the past few years， there have been successful joint productions through partnerships of regional troupes， local governments， provincial and national talents and troupes.

is not the first joint theater production on the part of Deqing County. The first was ， first staged in August 2012. It was a joint endeavor between Deqing County and Hangzhou Yueju Opera Troupe. Suichang County and Zhejiang Yueju Opera Troupe have partnered in creating . Tiantai County and Zhejiang Song & Dance Theater have jointly created an opera called . Ningbo Performance Group （NPG） has produced in partnership with the Central Opera Theater and Huangpi， a district under the jurisdiction of Wuhan City in central Chinas Hubei Province.

As Yueju Opera is the largest regional opera genre in Zhejiang Province， Zhejiang Yueju Opera Troupe has played a leading role in this fruitful joint theater production mode. The troupes first joint production occurred in 2013. It was a partnership with Yuhuan County in the southeast of the province. The county government provided funds and support for scriptwriters to learn about local history， culture and people. The new play was called ， which caused a big stir among local audiences and won a national government award in 2014. With this successful experience， the troupe has created and performed plays in partnership with some more local governments.

If many joint productions in Zhejiang are between local governments and provincial troupes， then Ningbo Performance Group， founded in December 2011， is certainly different. It has wanted to be a big player on both national and international show market.

was a project the NPG did in partnership with Huangpi District. The district government in Wuhan approached the group and offered a budget of 6 million to produce a performance based on Mulan， presumably a native of Huangpi. The group hesitated， thinking wasnt a fresh idea on the market. But the group didnt give up totally. It sent its people to Beijing to meet talents based there. After a few brainstorm sessions， they envisioned Mulan not as a war hero but as goddess of peace. It was a fresh reincarnation of the young woman in the millennia-old folktale. The Huangpi government was excited and expanded the investment to 10 million. The play was a huge success. It has been performed at National Grand Theater in Beijing， the 15th Asia Art Festival and the 4th World Internet Congress in Wuzhen. Critics and professionals thought highly of the performance.

In fact， NPG has staged shows overseas in more than 20 countries. Its cooperation with overseas talents has been successful. In 2014， it invited an American team to adapt its show for the American entertainment market. The dance drama was staged at Lincoln Center for the Performing Arts in New York. The commercial American tour was a huge success. In 2016， NPGs was reproduced by an all-American team.

Artists of provincial troupes and local troupes have benefited a great deal from such joint productions. Artists with the provincial troupes have won top national theater awards for their performances in such joint shows whereas local artists have learned a great deal. Take Deqing for example， the county has worked with professional troupes based in Hangzhou for three plays. The grassroots artists of Deqing had their own casts for the plays. On important occasions， amateur artist and professional artists from Hangzhou perform together. All-local casts perform at the grassroots level and cater largely to rural audiences from community to community across Deqing.