陳曉紅：“梅花”得主轉身更優美

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，瀟湘館內論舊文”，浪漫輕柔的鋼琴伴奏越劇《紅樓夢》選段凄美地縈繞在座無虛席的杭州劇院內。林黛玉弱柳扶風的形象和膾炙人口的王派唱腔，引來場內掌聲雷動……已很久沒有這種體驗了，前陣子這場《“琴越”獨唱音樂會》，著實讓筆者被驚艷到了。

簡潔大氣的舞臺上，著一襲粉色繡花禮服的中國戲劇梅花獎得主、著名越劇演員陳曉紅清麗優雅、楚楚動人，她正與浙江音樂學院鋼琴系教授陳瓊聯袂演繹“琴越”獨唱音樂會。隨著越劇《紅樓夢》《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，她的演唱如行云流水般不絕如縷，其千回百折、旖旎唯美“嗨”翻了全場觀眾，鮮花與掌聲相伴始終，直到音樂會落下帷幕。有觀眾說，聽過鋼琴伴奏京劇，卻第一次欣賞鋼琴與越劇聯手演繹這獨特的美，很享受這份新穎和別致，由衷為這種大膽探索和嘗試點贊。

陳曉紅，這位在舞臺上塑造過系列鮮明藝術形象的越劇表演藝術家，眼下的新身份是：浙江音樂學院戲劇系教師。其實，這場“琴越”獨唱音樂會，是她華麗轉身后的第二部作品。

藝海無涯學作舟

認識陳曉紅，大概有十年了。記得那時她是杭州越劇團的當家花旦，被“暫借”來浙江小百花越劇團與茅威濤搭戲，飾演新版越劇《梁祝》中的祝英臺。能被頂級越劇院團浙江小百花“相中”，與名家演對手戲，想必她的演技、唱腔在圈內已是好生了得。新版越劇《梁祝》公演后好評如潮，各地巡演邀約不斷。在去臺灣演出途中，筆者與陳曉紅有了些接觸。很喜歡看她舞臺上的祝英臺形象，那一顰一笑一轉身的自如靈動和拿捏，欣賞她的角色把控和駕馭能力，尤其喜聽她婉轉細膩、極富韻味的唱腔，簡直就是不可多得的美妙享受。

感覺她在臺下淡泊寧靜，很少與人閑聊和空談，常獨處、看書或一副若有所思的樣子，這種特立獨行“范兒”在戲曲演員圈里似乎有些不合時宜。與陳曉紅熟悉后，才發現她其實是個率真活躍，很有想法和個性的人。

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就入行學戲，文化基礎薄弱。而13歲開始學戲的曉紅，卻從未停止過讀書。1985年已學藝三年的她，從桐廬越劇培訓班考入浙江藝術學校，如饑似渴地學了三年專業和文化，畢業成績名列前茅。進入杭州越劇院后，忙排戲演戲、結婚生子，還自考上杭師院音樂系，之后學了中文專業，一邊練功，一邊讀書，一邊參與各種專業賽事，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，好評有加。其間，還將中國戲劇“梅花獎”、文化部“文華表演獎”盡收囊中。此后，曉紅又瞄上了上海戲劇學院導演專業，學的課程之多讓她應接不暇。已過不惑之年的她，竟考取了上海戲劇學院藝術碩士研究生。于是，她頻繁往返奔波于上海、杭州和各演出地之間。

“有時為了能趕上第一節課，頭天晚上在椒江某村演出，輾轉一夜，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。”三年的艱辛，哪是她說的這般云淡風輕？想必是使出了洪荒之力的。但遨游于藝術知識海洋的她，忙并快樂著。聽過各藝術門類大師講課，完成了研究生課程和十多篇論文，她成了越劇界第一個MFA藝術碩士。

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，得益于她善學習、愛思考的習慣，更與她開闊的視野和良好的綜合學養不無關系。如她在越劇《班昭》里，飾演東漢時期博學高才的女史學家、文學家班昭，要從14歲天真少女演到71歲垂暮之年，且要表現出角色骨子里那股書卷氣和修養，如果沒有“上戲”的這幾年學習和積累，恐怕難以應對這樣的挑戰。演出成功后，她由衷地慶幸“讀書真好！”

之后，陳曉紅又在經典名劇《紅樓夢》中飾演林黛玉。當時已40多歲的她心中忐忑，自己能演好一個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，標桿太高了，觀眾對黛玉也有審美定勢，真是壓力山大。面對挑戰，她再次通讀原著《紅樓夢》，又幾乎看遍所有版本的《紅樓夢》影視片、理論書籍及話題評論，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？孱弱的外表內包裹著一顆怎樣的心？她不斷拷問、感受著角色的內心邏輯，揣摩黛玉形象、捕捉黛玉神情，從自身氣質、神情、聲音造型中尋找與角色的契合點，力求精準把握其“神”與“形”。

通過兩個多月的排練，原本氣質較硬朗的陳曉紅脫胎為蹙眉愛哭、多愁善感、柔弱病態、才情橫溢、孤高自詡的林黛玉。人們耳熟能詳的這一個“林黛玉”生動、空靈地“活”在了越劇舞臺上。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。有評論認為，陳曉紅飾演的林黛玉是“最具文化氣質的林黛玉”。

面對掌聲和好評，她說：“要感謝恩師王文娟，為我打開了一扇嶄新的藝術之門，讓我領會到王派藝術的精髓。每一部劇的演出成功，都應該是一段積淀后的重新開始。”

演員這個職業，很多人視作飯碗，而于陳曉紅，卻是一份事業，一種目標追求。如果說，當年曉紅選擇越劇是懵懂被動的，那么從藝后，尤其是在杭越27年的舞臺實踐，讓她在越劇表演藝術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、臺灣地區演出。

衣帶漸寬終不悔

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

日前見到洗凈鉛華的陳曉紅時，她述說緣由：“隨著年齡的增長、舞臺經驗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家的藝術和品格傳承下去，培養出更多優秀的人才登上戲曲表演藝術這方舞臺。”曉紅追憶道，學藝初期，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，面對佼佼者如林，自己也乏善可陳，是張蘭珠、俞珍珠、王文娟等恩師鼓勵、引領她揚長避短，走好每一步，這才有了今天的藝術成就。“藝術新苗能遇上良師是何等幸運，將受益終身，這就是我轉身的初衷。”于是，陳曉紅在2015年以人才引進的方式，被調入浙江音樂學院戲劇系，做了一名專任教師。

要培養優秀表演藝術人才，既要不斷提升自身素養，也應當不斷磨練自身技藝，在求索中形成和完善科學的教學方式。她說：“從這個意義上說，我并沒有離開舞臺，而是走入了一個新的、更大的舞臺。”

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為一體的“筑夢路上：陳曉紅表演藝術專場”，展示自己在藝術道路上艱辛求索的成果。無論是出場時的柔弱才女“林黛玉”，還是壓軸的昆曲武戲《扈家莊》，她的表演均可圈可點，獲得了滿堂彩。尤其是她演的扈三娘武功灑脫、唱腔清亮，剛柔并濟，讓人眼睛一亮，觀眾叫好聲不絕。

走上講臺后，她主教越劇表演課程，每周16節課。“與學生們在一起，看著他們的點滴進步，忙碌而開心。”她真的很忙。除了上課，就是籌備有關課題和項目，一年一個演出項目，幾乎占用了她所有的業余時間;每月有越劇演出活動或講座、聽課，暑假高溫天也沒閑著，聽課和項目計劃排得滿滿當當……她利用各種方式尋師求學，提升自我，從中覓取傳統教育與現代教學之間融合點。

如今的陳曉紅，不是在浙江音樂學院的課堂上講課，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、從舞臺到講臺、從實踐到理論的全新起點。

然而，陳曉紅在轉身后更優美，她在講臺上辛勤播種和耕耘，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.