應(yīng)對(duì)“越女爭(zhēng)鋒”的挑戰(zhàn)

在歡慶中國(guó)越劇百年華誕的日子里，中央電視臺(tái)戲曲頻道、上海文廣新聞傳媒集團(tuán)聯(lián)合主辦“越女爭(zhēng)鋒”越劇青年演員電視挑戰(zhàn)賽，經(jīng)過(guò)緊張的角逐，于2006年10月7日在上海落幕，紹興小百花越劇團(tuán)小生演員張琳以最高分雄踞十強(qiáng)榜首，現(xiàn)刊登張琳獲獎(jiǎng)后的體會(huì)文章，以饗眾多越劇愛(ài)好者和廣大讀者。

在越女爭(zhēng)鋒整個(gè)比賽過(guò)程中，我作為一名青年演員，要被觀眾所熟悉和認(rèn)可，需要的是機(jī)遇和展示的平臺(tái)。感謝這次“越女爭(zhēng)鋒——CCTV青年演員電視挑戰(zhàn)賽”給我們新人搭建了一個(gè)脫穎而出的平臺(tái)，這是一次很好地向全國(guó)觀眾全面展示我們新一代越女的機(jī)會(huì)。

經(jīng)過(guò)初賽、復(fù)賽、決賽兩個(gè)多月的激烈競(jìng)爭(zhēng)，一次次的換戲，尤其是決賽中一共涉及的四個(gè)項(xiàng)目，是我在以前的比賽中從未遇到過(guò)的，壓力很大！這其中付出的艱辛和苦累，我相信每位參賽的選手心里都會(huì)記憶猶新。

面對(duì)這么高強(qiáng)度的競(jìng)賽單元，在經(jīng)受考驗(yàn)的同時(shí)，我學(xué)到了許多對(duì)自己未來(lái)事業(yè)有著極大幫助的東西，為將來(lái)適應(yīng)高強(qiáng)度的演出打下了扎實(shí)的基礎(chǔ)。

難忘“團(tuán)隊(duì)精神”

在比賽中我覺(jué)得最讓我感動(dòng)和難忘的是團(tuán)隊(duì)精神。在這里我得感謝眾多老師和同事們的悉心幫助，雖然在最后的比賽場(chǎng)上只有我一個(gè)人站在舞臺(tái)上表演，但這其中不知包含了多少人的心血，傾注了多少人對(duì)我的期望和關(guān)愛(ài)！

難忘8月1日的初賽。在這么炎熱的夏季，樂(lè)隊(duì)、舞美隊(duì)還有另外八位為我配戲的演員，頂著酷暑毫無(wú)怨言，非常盡心盡力！

復(fù)賽前的暑期，浙江京劇團(tuán)的姜振宇（既是我的老師又是我的同學(xué)）整整半個(gè)月天天為我排練《憶十八》，他是對(duì)我最“狠”的一個(gè)老師，每天排練前30圈圓場(chǎng)是必須的（以前練習(xí)走圓場(chǎng)最多也只有十來(lái)圈）。在那么高溫的天氣里，我三件衣服都被汗水濕透了（因怕褶子被汗水弄壞，我在里面又加穿了一件Ｔ恤）。排練中動(dòng)作的角度稍有不對(duì)都要重新來(lái)過(guò)，眼神不到位也要反復(fù)訓(xùn)練，直到他滿(mǎn)意為止。他在排練中教得非常仔細(xì)，一絲不茍，從他的身上我學(xué)到了很多優(yōu)秀的東西。

湯小東和李燕華兩位作曲老師為我設(shè)計(jì)音樂(lè)、唱腔，并且在休息日、火車(chē)上及演出空隙為我配樂(lè)，指導(dǎo)唱腔；還有浙江歌舞團(tuán)國(guó)家一級(jí)作曲王天明老師，在才藝比賽中為我無(wú)償制作音樂(lè)《春江花月夜》；吳調(diào)珍和楊麗芳兩位老師對(duì)我所演角色的情感處理和動(dòng)作進(jìn)行了深入的加工和細(xì)化排練；吳素英和陳飛兩位師姐看了《憶十八》，悉心指點(diǎn)了我表演的不足之處；為了舞臺(tái)上的一把扇子，副團(tuán)長(zhǎng)葉瑞芳趕夜工幫我在兩把扇子上畫(huà)了八只彩蝶；師姐于偉萍用膠水把金粉一粒粒沾到彩蝶上；化妝師董燕為了我們的比賽，放棄休息來(lái)回奔波；七十多歲的門(mén)衛(wèi)老楊不管我練到半夜幾點(diǎn)，都陪著我到很遲才關(guān)門(mén)上鎖，毫無(wú)怨言；因?yàn)橘愂潞捅本┤f(wàn)里行演出同時(shí)進(jìn)行，劇團(tuán)領(lǐng)導(dǎo)帶著我們來(lái)回坐了四趟飛機(jī)，北京、上海兩地跑，還親臨賽場(chǎng)為我們鼓勁，這樣的團(tuán)隊(duì)精神給了我在舞臺(tái)上的信心和力量！

在決賽前夕，尹小芳老師因身體不好住院，但是我參加決賽的劇目是老師的代表作《浪子成龍·書(shū)房》，于是老師為我找了一間很大的病房作為排練廳，親自示范，為我設(shè)計(jì)動(dòng)作，老師滿(mǎn)頭大汗地教戲，我深深地被感動(dòng)了！我從老師身上看到了為藝術(shù)無(wú)私奉獻(xiàn)的優(yōu)良品質(zhì)。

自唱自彈《將進(jìn)酒》

在才藝大比拼中，我自彈自唱《將進(jìn)酒》。詩(shī)詞演唱是“越女爭(zhēng)鋒”決賽中最具創(chuàng)新精神的一項(xiàng)，選手必須用越劇聲腔在3分鐘左右的時(shí)間完整地演唱所選詩(shī)詞，力求將詩(shī)詞的意境美與越劇的聲韻美結(jié)合起來(lái)。

我參賽的這段唱腔，不論是唱腔設(shè)計(jì)、古箏彈奏、服飾搭配，李燕華老師都為我出謀劃策，要求我把李白的《將進(jìn)酒》表演得十分立體和完整。不過(guò)由于表演難度大，時(shí)間緊，要將這《將進(jìn)酒》用箏演奏好也真當(dāng)不容易！為了練好這個(gè)節(jié)目，我把古箏帶到大劇院化妝間，趁排練空隙見(jiàn)縫插針，放棄睡眠，拼命地練習(xí)。剛開(kāi)始邊彈邊唱時(shí)總是手快唱慢，很難進(jìn)入狀態(tài)，有時(shí)練得整個(gè)人一陣陣發(fā)熱，心情也很煩躁，但我只能靜下心來(lái)，深知什么事都不能畢其功于一役，需要慢慢地磨合和漸漸地進(jìn)入狀態(tài)。

比賽那一刻，我站上舞臺(tái)，心跳在加速，內(nèi)心甚是緊張。我從來(lái)沒(méi)有上臺(tái)演奏過(guò)古箏，現(xiàn)在又是自彈自唱，真有些慌亂！但當(dāng)我一眼看到樂(lè)池中的燕華老師用十分堅(jiān)定的眼光看著我時(shí)，一下子給了我信心和力量！我站到箏前一整衣襟，全場(chǎng)頓時(shí)鴉雀無(wú)聲。當(dāng)伴隨著最后一道低沉的“錚——”聲，全場(chǎng)的觀眾頓時(shí)掌聲如雷，經(jīng)久不息，最后得到評(píng)委99的高分。

得獎(jiǎng)只是藝術(shù)道路的起點(diǎn)

越劇界的一名新人能夠在這么好的平臺(tái)中自由地施展自己的才能是幸福的?！霸脚疇?zhēng)鋒”的舞臺(tái)已經(jīng)謝幕，我十分珍惜這個(gè)充滿(mǎn)艱辛的獎(jiǎng)項(xiàng)。有時(shí)靜靜地、一個(gè)人會(huì)去回味比賽的每個(gè)畫(huà)面。但我想到：獲獎(jiǎng)只能代表昨天，人需要在名利、榮譽(yù)面前學(xué)會(huì)保持清醒的頭腦，永不滿(mǎn)足。我會(huì)把它作為藝術(shù)道路的起點(diǎn)，在以后的藝術(shù)生命里多加強(qiáng)文化情操的修養(yǎng)，多學(xué)習(xí)吸收、積累其他劇種優(yōu)秀的藝術(shù)——博觀而約取，厚積而薄發(fā)！

Winner of Yue Opera Competition

By Zhang Lin

Editor’s note: the year 2006 marked the 100th anniversary of the genesis of Yue Opera， a local opera of national renown that originated in Zhejiang Province. To celebrate the 100 years of the Yue Opera， CCTV and Shanghai Media Group jointly hosted a talent contest for promising Yue opera artists. The curtain fell on the event on October 7， 2006. Zhang Lin， an artist from Shaoxing One Hundred Little Flowers Yue Opera Troupe， won the contest. The following is her story about her participation in this contest.

Opportunities and a platform are what I need most as a young Yue Opera artist for recognition of audiences. I got both opportunities and the platform from the contest. This event gave all of us young Yue Opera artists a chance to show our best.

Competitions through preliminaries， semifinals and finals were fierce. I presented different performances for each competition and prepared four in all for the final. Never in my career had I experienced such pressure and hard work. I have learned a great deal from the competition and I believe that the experience will help me go far in my career.

Team Spirit

The most unforgettable part of this experience was team work. I competed alone， but what I did on the stage embodied expectations and concerns from a whole team. They put their endeavors into my performances. In the preliminaries， the eight artists from the band and the dancing team worked with me on August 1， one of the hottest days in summer. Before the semifinal， I rehearsed under the guidance of Jiang Zhenyu from the Zhejiang Peking Opera Troupe. He paid meticulous attention to all the details and my performance had to be perfect before I could stop. Tang Xiaodong and Li Yanhua were my music instructors and composers. They composed pieces for me and instructed me how to interpret the melodies. Wang Tianming， a state top-class composer of the Zhejiang Singing and Dancing Troupe， made the music tape of A Moonlit Flower Night on a Spring River free of charge. Wu Diaozhen and Yang Lifang advised me on the facial expressions and postures and gave me detailed suggestions during my rehearsals. Wu Suying and Chen Fei， two veteran artists， watched my performance and advised me on improvements. Ye Ruifang， vice director of our troupe， worked overnight painting eight butterflies on two folding fans for my performances. Yu Weiping glued golden granules one by one to the butterflies. Dong Yan， my makeup girl， gave up holidays and followed me around for all performances. Even the old Yang the janitor waited patiently for the end of my rehearsal every night no matter how late it would be. Before the final， Yin Xiaofang， then hospitalized， watched my rehearsal in a large and empty ward specially arranged for me in the hospital and gave me valuable tips. Their contributions made my winning possible.

Be My Own Accompanist

Singing an ancient poem in Yue tune was part of the contest， designed to display extra talent of a Yue opera artist. I decided to interpret the great Tang poet Li Bai’s Invitation to Wine. Li Yanhua coached me in singing， zither playing， and costume. I was pressed for time in rehearsing. I had never played zither in public and I found it hard to synchronize my singing and zither playing. I brought the zither to the dressing room and squeezed time to rehearse. Gradually， I was able to synchronize.

The moment I stood on the stage， my heart thumped. The tension got on my nerves. Then I saw Li Yanhua in the orchestra pit， her confidence filled me with strength. I performed well and the jurors gave me a score of 99.

(Translated by David)