徐露路 陸瑤

“一條大河波浪寬，風(fēng)吹稻花香兩岸……”一首歌唱響全國，至今膾炙人口。

大河奔流，不舍日夜，而稻花飄香，又從何而來？最新的考古發(fā)現(xiàn)證明，稻香的源頭已可上溯到一萬年前，一條大河的岸邊。

它就是位于浙江省中部的金衢盆地，以浦江縣上山遺址為代表的上山文化，是世界稻作文化的源頭。這片江南丘陵不僅孕育出自給自足的稻作經(jīng)濟(jì)，培育出完善成熟的農(nóng)耕文明，也在精神文化園地里澆灌出芬芳吐艷的繁花，催生了諸如婺學(xué)、婺窯、道情等各具形態(tài)的奇葩異卉。這其中最樸素、最飽滿、最具有旺盛生命力的那一株，當(dāng)屬婺劇。

它是漂流的禾苗

尋找著屬于自己的土壤

婺劇是八婺大地的“非物質(zhì)遺存”，是浙江地方劇種中歷史最悠久、聲腔最繁多（高腔、昆腔、亂彈、徽戲、灘簧、時調(diào)）的藝術(shù)瑰寶，在中外戲劇史上占有十分重要的地位。

婺劇的形成，主要的特點(diǎn)就是商路即戲路。金華的地理位置是在江西、福建、安徽、浙江四省交界，同時又是新安江流經(jīng)錢塘江的重要碼頭。明清以來，金華一帶是鹽、絲入贛和漆、瓷入浙的商業(yè)貿(mào)易地區(qū)，加之物產(chǎn)豐饒，故歷來是各種戲曲爭勝斗奇之地。

明中葉流行的義烏腔形成于金華府（今浙江金華）。明末的高腔、昆腔，清初的亂彈腔，清中葉的徽戲，均流行于金華、麗水、臨海、建德、淳安以及江西東北部的玉山、上饒、貴溪、鄱陽、景德鎮(zhèn)等地。灘簧清代中葉形成于江浙一帶，有常州武進(jìn)灘簧、杭州灘簧、寧波灘簧、本灘等。時調(diào)則是明清以來時尚民間小戲的統(tǒng)稱。

以上六種聲腔，在婺劇中不是一戲混用，而是各個聲腔都有一批專長劇目。最初，高腔、昆腔、亂彈等獨(dú)立成班，后發(fā)展為合班，并有不同的組合。高、昆、亂兼唱的戲班，俗稱“三合班”。之后，徽戲傳入金華一帶，有的三合班棄高腔而兼唱徽戲，有的徽班卻兼唱亂彈。再之后，又吸收了灘簧和時調(diào)。

于是乎，各種唱腔通過融會貫通，競爭重組，優(yōu)勢互補(bǔ)。婺劇，就這樣在農(nóng)耕文明的沃土上扎根萌芽，匯攏四面八方各具特色的色澤音調(diào)，拔節(jié)分蘗、揚(yáng)花吐穗，成長為本土藝術(shù)園地里最為豐實(shí)飽滿的“植物”。

自幼生長在稻田里的婺劇仿佛“赤著腳”，很少有文人雅士愿意摻和進(jìn)來，歷代史書經(jīng)傳里很少能夠看到關(guān)于婺劇及相關(guān)聲腔、班社、演員的記載。正因如此，婺劇并不像越劇，有一個非常明確的發(fā)源地，各聲腔的起源時間各不相同，最早的高腔至今已有500多年歷史。

在位于金華市區(qū)燕尾洲公園為中國婺劇院底樓的中國婺劇博物館內(nèi)，笏板、臉譜、戲服……3000多件與婺劇相關(guān)的展品，有的來自老藝人的捐贈，有的是工作人員到各地劇團(tuán)中收購的，還有一部分是能工巧匠仿制的，從臺前到幕后，穿越時空，將婺劇的前世今生娓娓道來。

它像成熟的水稻

豐滿的稻穗總是垂向大地

舊社會時，婺劇藝人流離失所，解放初僅在金華地區(qū)留下少數(shù)班社。解放后，婺劇獲得新生。1953年，浙江省文化局以民辦公助的形式，成立了金華專區(qū)婺劇實(shí)驗(yàn)團(tuán)和浙江婺劇實(shí)驗(yàn)劇團(tuán)，1954年，決定興辦浙江省婺劇團(tuán)。接著，全區(qū)大部分縣相繼成立婺劇團(tuán)。

為使婺劇后繼有人，浙江婺劇團(tuán)1955年招收鄭蘭香、吳光煜等一大批青年演員，1958年，浙江省文化局在杭州創(chuàng)辦了浙江戲曲學(xué)校婺劇班，該班在全省招演員、樂隊(duì)45人，是新中國第一代婺劇中專生，畢業(yè)分配到全省各婺劇團(tuán)。

1957年，全省舉辦一次規(guī)模較大的戲曲調(diào)演，對演出傳統(tǒng)劇目進(jìn)行推陳出新，逐個進(jìn)行整理記錄，出版了《婺劇傳統(tǒng)劇目匯編》、《婺劇音樂：徽戲部分》，使大部分傳統(tǒng)劇目和唱腔曲牌得以保存。同時整理和加工出一批優(yōu)秀傳統(tǒng)劇目。

1960年，毛澤東主席在杭州觀看了婺劇優(yōu)秀傳統(tǒng)小戲《牡丹對課》后給予熱情肯定和鼓勵，并接見鄭蘭香等優(yōu)秀青年演員。1962年，婺劇首次進(jìn)京演出，受到首都文藝專家的高度評價。周恩來、朱德、陳毅、彭真等黨和國家領(lǐng)導(dǎo)人觀看演出后給予熱情肯定和鼓勵。周恩來總理三次觀看演出，并邀請部分演員到中南海住所進(jìn)行長時間的親切談話。著名戲劇家田漢還特地賦詩一首：“璞玉渾金尚可求，英雄兒女入燕幽。浙東何止山川美，又有新聲說婺州。”

這一時期的婺劇獲得前所未有的絕好發(fā)展機(jī)遇，經(jīng)江和義、徐東福、周越先、徐汝英、周越桂、葛素云等前輩老師的悉心培育，以鄭蘭香、吳光煜為代表的一代婺劇人迅速成長，新老同臺，革故鼎新，婺劇藝術(shù)迅速提升，賦予婺劇以時代精神，展現(xiàn)地方文化的藝術(shù)品格，成為廣受城市觀眾喜聞樂見的劇場藝術(shù)。

然而，在熟悉它、養(yǎng)育它的鄉(xiāng)親們眼里，婺劇仍然像成熟的水稻那樣，豐滿的稻穗總是低低地垂向大地母親。稻米養(yǎng)育農(nóng)民的肉體，婺劇充實(shí)農(nóng)民的精神。幾百年來，婺劇就這樣成為了盆地農(nóng)民循循善誘的“講師爺”，樸實(shí)地向他們講述人生的哲理。

浙江婺劇藝術(shù)研究院的演出隊(duì)，會經(jīng)常來到一些鄉(xiāng)鎮(zhèn)的文化禮堂進(jìn)行下鄉(xiāng)演出。演出隊(duì)的花旦演員王丹說，下基層的劇目多會挑一些觀眾愛看的、能夠反映農(nóng)村生活的戲，比如當(dāng)天下午的兩個現(xiàn)代婺劇《鬧元宵》《心愿》，就是反映孝文化的。2011年12月，浙江婺劇團(tuán)更名為浙江婺劇藝術(shù)研究院。如今，他們每年仍堅(jiān)持公益下鄉(xiāng)演出300余場。

婺劇的劇目豐富多彩，據(jù)20世紀(jì)50年代初統(tǒng)計(jì)，能演出的大戲有390個，小戲400余個。既有反映古代歷史、政治、戰(zhàn)爭類題材，也有表現(xiàn)人民豐富多彩的生活類題材。

在表演形式上，婺劇夸張、生動、形象，鮮明生動與激情粗獷相結(jié)合。它不但保留了許多傀儡、儺舞、目連戲等古老的表演動作和程式，且擁有變臉、耍珠、耍牙、滾燈、紅拳、飛叉、舞叉、竄火、穿刀、十八吊等大量特技表演。

由于過去服裝無水袖，婺劇表演多在手指、手腕上下功夫，別具一格。旦角的開門、整裝、整容等動作，無不注重手指的顫動功夫。凈、生等角色的各種云手動作，也十分注重轉(zhuǎn)腕，翻掌加上亮相時常屈腿亮靴底，與儺舞和佛教舞蹈頗有接近處。角色上場時兩肘（下臂）平曲，大拇指翹起，其他四指并攏，起霸時盡用身子旋轉(zhuǎn)動作，揚(yáng)鞭催馬時鞭梢總是向上，又與傀儡戲的動作相似。

它在金衢大地生長

把芬芳撒向五洲四海

2008年，婺劇被列入國家級非物質(zhì)文化遺產(chǎn)名錄。經(jīng)過歷代藝人的發(fā)展和傳承，當(dāng)下的婺劇，遠(yuǎn)不僅局限于在金華地區(qū)傳唱。

2020年12月4日晚，浙江婺劇藝術(shù)研究院走進(jìn)浙江工業(yè)大學(xué)，開展“高雅藝術(shù)進(jìn)校園”活動?！遏[花臺》《八大錘》《金猴鬧春》……這些婺劇折子戲中，不僅有傳統(tǒng)劇本的經(jīng)典段落，還有近年來的全新原創(chuàng)現(xiàn)代戲。精彩傳神的表演，唱念做打俱佳，贏得現(xiàn)場近千名觀眾的熱烈掌聲。

近年來，婺劇的身影在央視春節(jié)聯(lián)歡晚會、春節(jié)戲曲晚會等重要舞臺上也頻頻亮相。2019年5月，亞洲文明對話大會“亞洲文化嘉年華”的節(jié)目《盛世梨園》中，來自浙江婺劇藝術(shù)研究院陳美蘭新劇目創(chuàng)作團(tuán)隊(duì)的110名演員青春亮相。一排排色彩亮麗的大靠悉數(shù)登臺，威風(fēng)凜凜地展示著婺劇功夫。伴隨著鼓點(diǎn)的敲打，身穿黃色服飾的十余位武生演員表演長達(dá)一分鐘的翻跟頭接龍，最多的一位演員連翻了6個跟頭，讓現(xiàn)場觀眾連連叫好。

如今的婺劇鼓點(diǎn)不僅響徹全國，也在敲擊著全球觀眾的心扉。從1993年開始，浙江婺劇藝術(shù)研究院（今）主動承接一系列對外文化交流任務(wù)，迄今為止已出訪全球近50個國家，將古老優(yōu)美的東方韻腔唱響世界舞臺。近年來，《昆侖女》《夢斷婺江》《鐵血紅顏》、青春版《穆桂英》、《血路芳華》《宮錦袍》《信仰的味道》《基石》等婺劇作品，接二連三摘取中國戲曲舞臺上最為耀眼的獎項(xiàng)。陳美蘭、張建敏、楊霞云等演員先后獲得戲劇梅花獎的榮譽(yù)。

繁榮在田間地頭的民營劇團(tuán)，也在為婺劇的傳承發(fā)展打下更廣闊的基石，他們走村入戶，送去妙趣橫生的演出。去年國慶假期，縉云縣碧林婺劇團(tuán)等演出團(tuán)體在河陽古民居景區(qū)的舞臺上開展了婺劇常態(tài)化表演，為來往游客展示這一古老戲曲的魅力。團(tuán)長黃碧林說：“我們團(tuán)成立于1989年，是從我父親手里傳下來的，算是民營婺劇團(tuán)里的‘老字號了。目前周邊地區(qū)比較活躍的民營婺劇團(tuán)有40家左右，我們計(jì)劃成立一個聯(lián)盟，加強(qiáng)民營劇團(tuán)之間的合作與交流，通過提升演出品質(zhì)和服務(wù)內(nèi)容進(jìn)行良性競爭，讓民間藝術(shù)的魅力惠及更多人。”

在歲月舞臺上摸爬滾打好幾個世紀(jì)，婺劇竟然顯得越來越年輕，越來越充滿生命活力，就像一株揚(yáng)花吐穗500年卻依然蒼翠茁壯的禾苗，在浙江中西部的肥沃土地上茁壯生長，成為婺州文化最杰出的代表和最重要的印記。

The Renaissance of a Traditional Zhejiang Opera

By Xu Lulu?? Lu Yao

As an intangible cultural heritage， Wuju opera is the oldest local opera in Zhejiang， with six shengqiang or vocal tones， the most varied among any operas， including the high-pitched tune， the Kunqu opera tune， the Luantan （literally “random pluck”） tune， the Huiju opera tune， the Tanhuang （a local folk opera art） tune and the Shidiao （popular local ditties） tune. Popular in the Jinhua area of central Zhejiang province， Wuju opera is one of the most important opera art forms in China.

Contrary to what many may have believed， Wuju opera is not an amalgamation of the six shengqiang or vocal tunes. Rather， each is featured with its own repertoire. Then， there are also different combinations. In fact， in its early years， troupes centered on the high-pitched tune， the Kunqu opera tune or the Luantan tune were formed independently and performed plays based on these tunes respectively. Overtime， those incorporating all three tunes called “tri performance troupes” were born. Later， when Huiju opera was introduced to Jinhua， some tri performance troupes ditched the high pitched tune， and welcomed the Huiju opera tune into their embrace， while a number of Huiju opera troupes instead combined with the Luantan tune. By the time when the Tanhuang tune and the Shidiao tune were assimilated， Wuju opera was even more enriched in terms of both the tunes and repertoire.

It is not a coincidence for Wuju opera to become what it is today. Standing at the intersection of Jiangxi， Fujian， Anhui and Zhejiang provinces， and an important wharf along the Xinan River， Jinhua has historically been a key commercial center in the region. During the Ming （1368 1644） and Qing （1616-1911） dynasties， Jinhua was also a crucial trading post where salt and silk were sold to Jiangxi and lacquer and porcelain were imported into Zhejiang. Coupled with abundant natural resources， there seems no surprise that various people， and indeed operas， were attracted to Jinhua. It is even said that the history of commerce in the Jinhua area is the history of? Wuju opera.

Maybe because of the historical mixture and its rural base， Wuju opera was considered uncultured by the literati. It was rarely mentioned in official histories， documents and records， unlike its more refined younger “cousin”， the Yueju opera.

Despite its long history， the development of Wuju opera isnt always smooth sailing， especially in the hundred years or so before 1949， when foreign invasion and wars gripped much of China. At the founding of the Peoples Republic of China， only a handful of Wuju opera troupes were left in Jinhua. In 1953， authorities in Zhejiang established the Jinhua Wuju Opera Experimental Troupe and the Zhejiang Wuju Opera Experimental Troupe， before officially setting up the Zhejiang Provincial Wuju Opera Troupe in 1956， marking the revival of Wuju opera in the new era.

To cultivate more Wuju opera talents， the Zhejiang Provincial Wuju Opera Troupe then recruited quite a number of young performers， including Zheng Lanxiang and Wu Guangyu， who would later grow into masters of the art form. In 1958， 45 students joined a vocational program that was specially tailored for Wuju opera performance， the first cohort after the PRC was established.

Wuju opera received another boost when Chairman Mao watched one of the traditional plays in Hangzhou in 1960， and spoke highly of the performance. Two years later， the Zhejiang Provincial Wuju Opera Troupe had the chance to perform in capital Beijing for the first time. More national leaders， including Premier Zhou Enlai， attended the performance. Premier Zhou enjoyed the show so much that he watched it three times， and even invited some singers to his residence in Zhongnanhai to talk about the opera. Later， with more performances in cities like Beijing and Shanghai， Wuju opera has made more inroads into urban areas.

However， for Wuju opera， its roots ultimately lie in the countryside. Over the past few decades， the Zhejiang Provincial Wuju Opera Troupe has regularly delivered free performances?? more than 300 every year in recent years-to residents in rural areas. And the plays chosen are usually those either popular with rural residents or adapted to show the latest state of rural life.

The adaption is made all the easy by the rich repertoire of? Wuju? opera. According to a survey done in the 1950s， there were at least 390 full-length plays and over 400 short plays. The subjects range from history， politics and wars to everyday life. As far as performing is concerned， Wuju opera is characterized by exaggerated and intense movements， with many traditional gestures， footwork and movements. One notable feature is the finger poses and hand gestures， which Wuju opera performers paid special attention to， as the costumes for Wuju opera did not have sleeves in the past. Quite a number of acrobatic moves have also been incorporated ， such as face-changing and teeth play.

Today， Wuju opera is a nationally recognized cultural treasure. Apart from public troupes， privately run troupes are thriving as well. In Jinyun county， Lishui city， for instance， some 40 such troupes are planning to form an alliance， to better develop Wuju opera and so that more people can feel its charm. Wuju opera is also stepping onto the international stage. The Zhejiang Provincial Wuju Opera Troupe has so far visited about 50 countries， with more in the pipeline， bringing the art of Wuju opera to a global audience.