周江鴻

金秋北京，清爽宜人。9月18日晚，新編現(xiàn)代道德倫理越劇《德清嫂》在國(guó)家大劇院隆重開(kāi)演。這出由浙江德清縣委宣傳部、縣文廣新局與杭州越劇院聯(lián)袂精心策劃編排，謝群英等3位“國(guó)家戲曲梅花獎(jiǎng)”得主領(lǐng)銜主演，謳歌時(shí)代道德新風(fēng)、贊美人間真情的現(xiàn)代越劇大戲，為首都舞臺(tái)送來(lái)沁人心脾的江南清風(fēng)。

《德清嫂》劇情真切感人，唱腔委婉動(dòng)聽(tīng)，舞臺(tái)設(shè)計(jì)華美悅目，不僅贏(yíng)得了現(xiàn)場(chǎng)觀(guān)眾的熱烈掌聲，還得到專(zhuān)家及媒體的高度評(píng)價(jià)。戲劇之美，不僅僅是戲劇本身，也不僅僅只是舞臺(tái)呈現(xiàn)的戲劇人物造型、臺(tái)詞、唱功及表演技巧，更是戲劇揭示的社會(huì)核心價(jià)值觀(guān)，傳達(dá)的人文信息，以及給予人們的心靈震撼，即所謂的“言外之意”、“弦外之音”。越劇《德清嫂》的成功上演，就是以戲劇形式釋放民間道德力量，激活人們心中向善意念，引領(lǐng)整個(gè)社會(huì)崇德樂(lè)善。

道德明鏡照亮人心

越劇《德清嫂》改編自一個(gè)真實(shí)的故事。20年前的一個(gè)春天，德清嫂在洪水中救起了別人的孩子而丟失了自己的女兒。她強(qiáng)忍悲痛，收養(yǎng)了父母雙亡的天寶、燕子兄妹倆，待若親生，一家幸福和睦。而長(zhǎng)大成人后的天寶，新娶的媳婦嬌嬌卻驕橫跋扈自私忘義，未盡兒媳之孝道，還窺覷婆婆德清嫂珍藏的紅木箱子，她懷疑箱中藏有值錢(qián)寶貝，為此鬧出各種事端。當(dāng)嬌嬌生命垂危之際，德清嫂毫不猶豫地為兒媳捐腎救命，同時(shí)也拯救了其靈魂。紛爭(zhēng)落幕之時(shí)，竟又峰回路轉(zhuǎn)，德清嫂發(fā)現(xiàn)嬌嬌就是自己失散20年的親閨女，以德報(bào)怨，終究會(huì)得到最好的福報(bào)。劇情以德清嫂與兒媳的矛盾沖突為主線(xiàn)，圍繞一只紅木箱巧妙地鋪設(shè)了“雙喜、嫁女、打嫂、分家、逼箱、休妻、救媳、開(kāi)箱”等8幕戲，演繹了一出蕩氣回腸的人間真情道德倫理劇。

德清，唐代詩(shī)人孟郊故里，孟郊的《游子吟》千古傳誦，在謳歌中華民族平凡而偉大的慈母形象同時(shí)，也為德清大地書(shū)寫(xiě)了一筆大愛(ài)與大孝的樸素情懷。舞臺(tái)上，仁愛(ài)善良、忍辱負(fù)重的農(nóng)村慈母德清嫂，其身上不折不扣遺傳了孟郊慈母的生命基因。

著名編劇包朝贊介紹說(shuō)，《德清嫂》的創(chuàng)作靈感就來(lái)自于德清當(dāng)?shù)亍Ｎ枧_(tái)上的德清嫂，區(qū)別于以往那種政治化、高大全的道德人物，她只是一個(gè)柔弱、傳統(tǒng)、以善為本、疼兒愛(ài)女、甘愿犧牲的可親可敬的農(nóng)家慈母。觀(guān)眾在“德清嫂”身上，可以看到當(dāng)?shù)卦S多民間道德佳話(huà)和模范人物的影子，如勇救21名落水者的錢(qián)素春；替夫還債10年、一諾千金的誠(chéng)信農(nóng)婦蔣引娣；捐腎救夫的封麗娟等等?！敖陙?lái)，德清百姓中涌現(xiàn)出一大批道德模范群像，用自己的善行義舉書(shū)寫(xiě)了愛(ài)的真諦。用現(xiàn)實(shí)生活中的德清嫂來(lái)塑造舞臺(tái)上的德清嫂，更真實(shí)、更生動(dòng)，更能教育身邊人。我們希望宣傳人人都可以做到的道德行為。”

劇中捐腎救媳的情節(jié)源于德清人封麗娟捐腎救夫的故事，封麗娟在看完全劇后，眼含淚花說(shuō)：“戲里的人物故事情節(jié)都取自德清的民間愛(ài)心人士，這些人物經(jīng)過(guò)藝術(shù)加工，更加感人了，沒(méi)有拔高之嫌?！笨梢?jiàn)，德清—寫(xiě)就孝詩(shī)《游子吟》的孟郊的故鄉(xiāng)，高尚道德蔚然成風(fēng)，文明之花開(kāi)遍城鄉(xiāng)。

越劇藝術(shù)時(shí)代表達(dá)

中華民族從來(lái)不缺對(duì)誠(chéng)信、善良、助人等美德的追求。盡管當(dāng)今道德傳承有所弱化，但在“人有德行，如水至清”的德清縣，在經(jīng)濟(jì)快速發(fā)展的同時(shí)，依然蘊(yùn)涵著雄厚的民間道德力量—30余個(gè)民間設(shè)獎(jiǎng)的“德清現(xiàn)象”，其內(nèi)容之豐富，故事之生動(dòng)，在全國(guó)獨(dú)樹(shù)一幟，這是最具德清文化特色、百姓自發(fā)原創(chuàng)的鮮活題材。以公民道德建設(shè)為題材的大型現(xiàn)代越劇《德清嫂》，在“德清公民道德教育館”內(nèi)緊鑼密鼓地排練。

戲曲是大眾藝術(shù)、平民藝術(shù)，自古以來(lái)，廣大百姓遵循的道德規(guī)范、秉持的是非標(biāo)準(zhǔn)、了解的歷史故事、感動(dòng)的人物形象，幾乎都是通過(guò)聽(tīng)書(shū)看戲獲得的。戲曲藝術(shù)在給予大眾精神鍛造與滋養(yǎng)上起著巨大的作用，有著生動(dòng)的表現(xiàn)形式和廣泛的群眾基礎(chǔ)。越劇則是浙江乃至全國(guó)許多觀(guān)眾非常喜愛(ài)的劇種?！兜虑迳肪椭苯硬捎媒先罕娮钕矏?ài)的越劇形式，謳歌新時(shí)代的道德模范。在現(xiàn)當(dāng)代的中國(guó)戲劇舞臺(tái)上，曾出現(xiàn)過(guò)祥林嫂、阿慶嫂等觀(guān)眾熟悉的形象，德清嫂也力爭(zhēng)樹(shù)立一個(gè)可愛(ài)可親可敬的現(xiàn)代慈母形象。

9月19日上午，國(guó)家文化部藝術(shù)司如期舉行《德清嫂》赴京演出專(zhuān)家研討會(huì)。文化部藝術(shù)司司長(zhǎng)董偉、藝術(shù)處處長(zhǎng)呂育忠、中國(guó)導(dǎo)演協(xié)會(huì)會(huì)長(zhǎng)黃在敏、中國(guó)劇協(xié)黨組書(shū)記季國(guó)平等領(lǐng)導(dǎo)及資深專(zhuān)家參加研討會(huì)。

董偉先生評(píng)價(jià)說(shuō)，《德清嫂》以戲劇的方式表現(xiàn)當(dāng)代的生活，劇本、表演以及服裝、舞美等整體營(yíng)造了當(dāng)下中國(guó)的時(shí)代特點(diǎn)。文藝要繼承優(yōu)秀傳統(tǒng)文化，謳歌時(shí)代精神，《德清嫂》有“三好”：創(chuàng)作方向好、創(chuàng)作機(jī)制好、舞臺(tái)呈現(xiàn)好。它不僅是藝術(shù)品，也是精神文明的好作品，感謝德清為全國(guó)人民呈現(xiàn)了一部好戲。

季國(guó)平評(píng)價(jià)：作為文本的《德清嫂》現(xiàn)已悄然隱于幕后，而凸顯于觀(guān)眾眼前的是活生生的一個(gè)當(dāng)代慈母形象—德清嫂。德清嫂的形象是地域文明精神傳承并延伸的結(jié)果，在今天的德清母親們的血脈中，流淌著孟郊慈母遺傳的生命基因。

現(xiàn)代新編越劇《德清嫂》戲劇結(jié)構(gòu)巧妙，包括完整而跌宕的故事情節(jié)、突出的人物矛盾沖突以及符合觀(guān)眾傳統(tǒng)的審美情理。在戲劇的題材和表達(dá)方式上，《德清嫂》又打下了很深的時(shí)代烙印?！兜虑迳愤x擇了現(xiàn)實(shí)社會(huì)中人人都能引起共鳴的家庭矛盾，表現(xiàn)和贊美了人人都可以力所能及的道德善行。在舞臺(tái)造型上，《德清嫂》將秀麗的山川景色融入到戲劇故事中，并配合悠揚(yáng)的古箏和原汁原味的越劇唱腔，整體上將德清優(yōu)美的江南風(fēng)光與人文意境表現(xiàn)得淋漓盡致。更可喜的是由德清縣越劇演員組成的“草根班”，得到了杭州越劇院國(guó)家一級(jí)導(dǎo)演和演員全面正規(guī)的藝術(shù)輔導(dǎo)，他們正風(fēng)塵仆仆在縣內(nèi)外巡演，深入到鄉(xiāng)鎮(zhèn)、社區(qū)、街道等基層一線(xiàn)，給予廣大群眾一份道德的熏陶和滋養(yǎng)。戲曲搭臺(tái)，將道德新風(fēng)送進(jìn)千家萬(wàn)戶(hù)。

Sister Deqing： a Morality Yueju Opera Play

By Zhou Jianghong

“Sister Deqing”， a morality play of Yueju Opera staged by Hangzhou Yueju Opera House， is a new drama based on real stories and real people in Deqing. Like morality play in Europe that dates to medieval times， morality play in China started in ancient times. For grassroots people in rural areas in ancient China， theater was a morality classroom where village theatergoers gathered around a makeshift stage， watched a play and learned about morality embodied in characters and their romance or tragedy. These plays tell stories about good and bad， right and wrong， ugly and beautiful， cruelty and kindness， revenge and redeem， loyalty， and devotion， just to name a few qualities highlighted in traditional repertoire of regional operas all over the country. Every regional opera has a repertoire composed of morality plays to varying degrees. Started about 100 years ago in rural eastern Zhejiang， Yueju Opera is now a highly flourishing regional opera in China thanks to a combination of stars， innovation and plays over the past decades. “Sister Deqing” is the latest play added to the large repertoire of morality plays in China.

The play， planned and hosted by Deqing County Government， stars Xie Qunying and two other eminent Yueju Opera stars. The three are winners of Plum Blossom Award， which is Chinas Oscar for theater performance.

The play stands out for a few reasons. First， the morality play is different from most plays from the repertoire that are still staged today. Over the past few decades， Yueju Opera troupes have largely restaged traditional plays， introducing new stage designs， using new stage devices， adding finely choreographed dances and singing. They have rarely created new plays.

Second， “Sister Deqing” is a based on real people and real events in Deqing， a rural county to the north of Hangzhou， the capital seat of Zhejiang Province. Deqing is a place where virtue holds fast. More than 30 grassroots people in Deqing have won the honor of Deqing Phenomenon， a non-government folk award for people of virtue selected by the public. Their stories touch peoples heart.

Playwright Bao Chaozan says that the story is all based on real events and real people. Sister Deqing is by no means a larger-than-life hero that one may find in novels and opera plays created before and during the Cultural Revolution （1966-1976）. The big-hearted woman cares for her family and is willing to sacrifice for her family. In Deqing， a woman named Qian Suchun got 21 people to safety in a dangerous flood； a woman named Jiang Yindi paid back the debt of her late husband over a period of ten years； a woman named Feng Lijuan donated her kidney to save her husband.

Based on these people and their stories， the play tells a modern story： Sister Deqing saves a boy and a girl in a flood but she loses her own daughter. After the flood， she takes in the two orphans and brings them up. Twenty years later， the boy gets married. The selfish daughter-in-law does not love her mother-in-law and covets a redwood trunk owned by the mother-in-law， thinking there is treasure locked up there. The daughter-in-law makes trouble in the family and the relationship becomes messy until the daughter-in-law is afflicted with a kidney disease. Her mother-in-law donates a kidney for organ transplant to save the daughter-in-law. The daughter-in-law lives to find that the mother-in-law is her real mother. They live happily after.

On September 18， 2012， the play made its national debut at the National Grand Theater in Beijing. It was applauded by the audience and acclaimed with critics. On the morning of September 19， 2012， the Ministry of Culture held a seminar on the play. The leaders of the Art Department of the ministry and other experts attended the seminar.

Nowadays， an amateur Yueju Opera troupe in Deqing is on the road staging “Sister Deqing” in Deqing and other counties. The troupe is spreading the story everywhere. This is the Chinese way of giving an entertaining lecture on morality.