又響起久違的海鹽腔

文俊

悅耳動(dòng)聽的音樂、華麗精美的服飾、深情委婉的唱腔、絲絲入扣的表演……海鹽縣博物館海鹽腔展示館窄小的舞臺(tái)上，一出《南西廂記·堂前巧辯》，讓筆者觀賞到了明代四大聲腔之首海鹽腔的獨(dú)特魅力。

海鹽腔是一門古老的戲曲唱腔，因形成于浙江海鹽而得名。由于歷史原因，300多年前，海鹽腔逐漸失傳。

“走到今天真的不容易”

“我是2012年3月調(diào)入縣文聯(lián)的。那時(shí)海鹽腔藝術(shù)團(tuán)成立不久，沒有一分錢的活動(dòng)經(jīng)費(fèi)，演出服裝是演員自己掏錢買的，化妝品是家境好的演員贊助的，連排練、演出時(shí)的盒飯，也是大伙一起湊錢買的，走到今天真的不容易……”說到辛酸處，海鹽縣文聯(lián)副主席周蓉暉哽咽出聲。

成立于2011年10月的海鹽腔藝術(shù)團(tuán)，目前有演職員40人。該團(tuán)是海鹽縣文聯(lián)下屬的海鹽腔研究會(huì)建立的既非體制內(nèi)劇團(tuán)，也非民間劇團(tuán)?？删褪沁@樣的劇團(tuán)，精心編排了“南西廂”，于2015年10月在海鹽大劇院首演。演出精彩紛呈，是海鹽腔研究會(huì)、海鹽腔藝術(shù)團(tuán)成立以來亮相舞臺(tái)的首場(chǎng)大戲。

周蓉暉回憶，當(dāng)晚的“南西廂”演出，共十出加一個(gè)尾聲，時(shí)間近兩小時(shí)。演員傾情投入，樂隊(duì)一絲不茍，展現(xiàn)了海鹽腔清柔婉麗、細(xì)膩動(dòng)人的特色。為這臺(tái)戲，大家準(zhǔn)備了近一年，團(tuán)長(zhǎng)周文豪還曾遠(yuǎn)赴江西廣昌、湖南長(zhǎng)沙等地，調(diào)查海鹽腔的傳承歷史。崔鶯鶯的飾演者梁茜說：“演出得到這么多觀眾的支持，出乎我們的意料。海鹽腔是寶貴的財(cái)富，我們有責(zé)任和義務(wù)好好保護(hù)它、傳承它?！?/p>

“南西廂”由明代海鹽劇作家崔時(shí)佩等改編，在明清盛行的海鹽腔、昆山腔曲目中均有?！拔覀儸F(xiàn)在還只能演十二出南西廂?！敝苋貢煶姓J(rèn)，目前的演出主要在海鹽周邊地區(qū)，配合節(jié)慶和送戲下鄉(xiāng)、進(jìn)農(nóng)村文化禮堂等活動(dòng)。

“我常常被演員們只講奉獻(xiàn)、不計(jì)回報(bào)的精神所感動(dòng)。前些年，演出沒有一分錢酬勞;2014年海鹽腔被列入‘浙江好腔調(diào)56個(gè)劇種之一，省里有補(bǔ)助，市縣也有配套經(jīng)費(fèi)，現(xiàn)在能稍稍發(fā)點(diǎn)勞務(wù)費(fèi)。”周蓉暉覺得這樣的模式靈活機(jī)動(dòng)，節(jié)省資源，傳播力與影響力也會(huì)更大。

筆者問海鹽腔藝術(shù)團(tuán)有沒有打算創(chuàng)作新劇目時(shí)，周蓉暉不容置疑地回答：“現(xiàn)在我們沒必要推出新劇目。把原來的劇本挖掘、整理、保護(hù)好，就足夠我們演出了?！笔聦?shí)上，過去近50年來，對(duì)海鹽腔的重新發(fā)掘、整理和研究一直沒有停止，劇本有近40個(gè)。

與海鹽腔的不了情

說到海鹽腔，不能不提兩位省級(jí)非遺傳承人——陶維安與周文豪。今年87歲的陶維安，長(zhǎng)期在海鹽縣文化館工作，被大家稱為海鹽的“老文藝”。陶維安擔(dān)任海鹽腔研究會(huì)副秘書長(zhǎng)一職，承擔(dān)著傳承使命。

陶維安從小對(duì)戲曲十分喜愛，平時(shí)經(jīng)常去看戲曲交流演出。他說，當(dāng)時(shí)嘉興地區(qū)30多個(gè)劇團(tuán)，哪個(gè)劇團(tuán)有哪些經(jīng)典劇目，劇團(tuán)中有哪幾個(gè)主要演員，心里都有數(shù)。他與不少劇團(tuán)的創(chuàng)作人員、主要演員熟悉并有聯(lián)系，有時(shí)會(huì)主動(dòng)向他們請(qǐng)教戲曲知識(shí)。

上世紀(jì)80年代，陶維安參與了《中國(guó)戲曲志》浙江卷和嘉興市戲曲資料的收集工作，真正認(rèn)識(shí)到海鹽腔在中國(guó)戲曲史上的重要地位。于是，從1983年開始，陶維安在海鹽縣文化館原工作人員，后在杭州師范大學(xué)人文學(xué)院研究員、浙江省民間藝術(shù)家協(xié)會(huì)副主席顧希佳的啟發(fā)和幫助下，努力從“海鹽騷子”（也稱海鹽燒紙）項(xiàng)目中尋找海鹽腔的遺音線索。陶維安告訴筆者：“我克服種種困難，首先加強(qiáng)自己在戲曲專業(yè)方面的學(xué)習(xí)、研究，其次收集大量歷代有關(guān)海鹽腔的劇本、曲牌、資料、論文，然后分門別類進(jìn)行整理、研究。海鹽腔的資料，有的在專著中，有的在報(bào)刊上，有的在古籍里，目前已初步形成一個(gè)有關(guān)海鹽腔的資料庫(kù)。這些檔案資料，包括海鹽騷子、海寧皮影戲、永嘉昆腔、江西盱河高腔、湖南低牌子等涉及海鹽腔遺音的曲牌、曲譜和有關(guān)海鹽腔的文字史料?！?/p>

很多年來，海鹽流行唱越劇，要組織人員改唱海鹽腔，難度不小。組建海鹽腔藝術(shù)團(tuán)，今年已74歲的團(tuán)長(zhǎng)周文豪功不可沒。該團(tuán)演員包括公務(wù)員、醫(yī)務(wù)人員、學(xué)校教員、公司職員等，周文豪既要選配曲牌，還要從咬字、發(fā)音、節(jié)奏等方面，先一字一句唱給演員聽，然后手把手地耐心教唱。周文豪也兼樂手，他又指點(diǎn)主奏笛子、鼓板、琵琶等。2009年，一曲婉轉(zhuǎn)清麗、柔美典雅的《牡丹亭·游園》折子戲面世，開啟了近400年后由海鹽人演出海鹽腔的新篇章。

“中生代要迎頭趕上”

如今，海鹽腔已在海鹽普遍傳唱。2017年6月7日，海鹽縣文聯(lián)編創(chuàng)的海鹽腔節(jié)目《蚌精記之喜得河蚌》，在浙江省第八屆殘疾人藝術(shù)匯演之戲曲專場(chǎng)比賽中脫穎而出，榮獲銀獎(jiǎng)。為配合匯演，海鹽縣文聯(lián)抽調(diào)人員、策劃方案，安排沈永康、徐曉萍、徐頻三位老師全程輔導(dǎo)。海鹽腔藝術(shù)團(tuán)樂隊(duì)為殘疾演員量身錄制音樂伴奏，突出殘疾演員表演。

海鹽腔藝術(shù)團(tuán)演員隊(duì)隊(duì)長(zhǎng)徐頻，是浙江藝校1985屆學(xué)越劇出身的，2006年周文豪要排練海鹽腔折子戲《牡丹亭·游園》，找到了她。徐頻“轉(zhuǎn)型”“入戲”很快?！敖?年來演出比較多，但也在為培養(yǎng)年輕演員而努力?！惫P者采訪時(shí)，徐頻正在填寫申報(bào)海鹽腔嘉興市級(jí)非遺傳承人的申報(bào)書，“海鹽腔唯一的兩位省級(jí)傳承人年事已高，我們中生代要迎頭趕上”。

筆者在徐頻的申報(bào)書上看到：僅2016年，她除參與海鹽縣各鄉(xiāng)鎮(zhèn)文化走親、文藝展演活動(dòng)外，還參與了海鹽腔小戲《蚌精記》《贈(zèng)珠辦學(xué)》等折子戲的創(chuàng)作、排練、演出;2017年上半年，演出40多場(chǎng)次。在此之前的十年中，她多次參加《浙江好腔調(diào)》演出并獲獎(jiǎng);每年參加嘉興市組織的各類演出;2013年以來在海鹽各中等學(xué)校擔(dān)任海鹽腔特色課老師，已有5000多人次的學(xué)生接受過她的培訓(xùn)，部分學(xué)生已學(xué)會(huì)小段海鹽腔唱腔。endprint

徐頻感到遺憾的是，海鹽腔藝術(shù)團(tuán)至今沒有排練廳、沒有演出場(chǎng)所。她說起來噓唏不已：“每次排練挖空心思想辦法，有時(shí)向老年大學(xué)或企業(yè)借場(chǎng)地，有時(shí)就在文聯(lián)前面的廣場(chǎng)上，有時(shí)甚至到演員家里去，到處打游擊?！彼岬?，50多歲而飾演小生的祝燕華，因?yàn)橼s排練，不幸遇車禍，“她這一年是沒法再演出了”。

“我們的演出大都在節(jié)假日的晚上，周蓉暉老師總是到場(chǎng)為我們鼓勁，親力親為的精神感動(dòng)了我們。沒有她的關(guān)心、愛護(hù)，海鹽腔不可能發(fā)展到如今這樣喜人的地步。”徐頻最擔(dān)心的是，在這個(gè)大家庭里，周老師是他們的主心骨，但她即將退居二線，藝術(shù)團(tuán)今后如何？種種不確定性，讓大伙有點(diǎn)憂心忡忡。

不遺余力挖掘好苗子

“事業(yè)要發(fā)展，人才很重要?！敝苋貢煾锌卣f，海鹽腔藝術(shù)團(tuán)演員平均年齡50多歲，樂隊(duì)都是70歲以上的老人。為此，他們想方設(shè)法培養(yǎng)年輕演員。一方面，從幼兒園老師隊(duì)伍里尋找好的苗子;另一方面，海鹽縣有98名農(nóng)村文化管理員，是土生土長(zhǎng)的海鹽人，方言不是障礙，學(xué)起來相對(duì)方便，也可以考慮從中選苗子。比如，海鹽百步鎮(zhèn)農(nóng)豐村文化禮堂文化管理員徐珊妮，就是已經(jīng)鎖定的培養(yǎng)對(duì)象之一。

徐珊妮是百步鎮(zhèn)人，畢業(yè)于湖州師院藝術(shù)設(shè)計(jì)專業(yè)，2014年7月經(jīng)過招聘成為農(nóng)村文化管理員。“雖然剛開始的時(shí)候?qū)ξ幕ぷ鞲拍畋容^模糊，但經(jīng)過一段時(shí)間的鍛煉，還是蠻喜歡這份工作的?！毙愿耖_朗、喜歡唱歌跳舞的徐珊妮，深得村民喜歡，每年考評(píng)各方面成績(jī)都很出色，被評(píng)為“優(yōu)秀小能手”?！拔覜]有學(xué)過戲曲，也沒有學(xué)過表演，學(xué)習(xí)海鹽腔對(duì)我來說有一定難度，但我相信功夫不負(fù)有心人，我會(huì)朝著這個(gè)方向努力的，讓家鄉(xiāng)的海鹽腔再續(xù)輝煌?！睘榇?，海鹽腔的講座、培訓(xùn)活動(dòng)徐珊妮都盡量不錯(cuò)過，并且通過視頻學(xué)習(xí)唱腔、身段，登臺(tái)表演也贏得盛贊。

來自福建的新海鹽人鄒燕偶爾觀賞了海鹽腔的演出，就成為了海鹽腔忠實(shí)的粉絲。她認(rèn)為，海鹽腔要想發(fā)揚(yáng)光大，除了服務(wù)本地老百姓，還要走出去，走向全省甚至全國(guó)，擴(kuò)大影響力;此外，要多排戲，培養(yǎng)新人，通過演出打磨劇目、鍛煉演員，“只要走上良性循環(huán)的軌道，相信海鹽腔一定會(huì)越來越好”。

（除署名外，本文照片由作者提供）

Haiyan Melody， an ancient theater singing， was born in Haiyan and named after it birthplace. It flourished for about 300 years before it declined gradually during the Qing Dynasty （1644-1911）

Local people have made efforts to revive Haiyan Melody. A Haiyan Melody troupe was founded in October 2011. The 40-member troupe under the leadership of the countys Federation of Literature and Art Circles is neither a public institution nor a private troupe. It is a group of aficionados and volunteers and it is designed to keep the ancient opera alive.

Zhou Ronghui， vice chairperson of the federation， has a lot to say about the troupe. “I came to work at the federation in March 2012， shortly after the troupe was founded. It didnt have any fund then. Actors bought their own costumes. Makeup things were provided by those who were relatively well off. Members chipped in for after-show takeaway food. The troupes survival isnt easy，” emotionally recalls Zhou.

It was not until 2014 that Haiyan Melody was recognized as one of the 56 regional operas of Zhejiang Province by the provincial government. The inscription onto the official list has brought in government subsidies and the troupes fate improved remarkably.

In the first few years， the troupe focused on bringing back the 12-act in the style of the southern operas. It was originally written by Wang Shifu （1234-1294）， a prominent playwright of the Yuan Dynasty （1279-1368）， for troupes that performed in the North Opera style. As the artists in the south were unable to sing the tunes and lyrics of the north， the original was rewritten to enable various operas in the south to stage the play. There were several versions of the play for regional operas across the south. The Haiyan Melody version was adapted by Cui Shipei， a playwright of the Ming Dynasty （1368-1644）. The play can be seen in the operas repertoire in the Ming and the Qing （1644-1911）.endprint

Zhou Ronghui remarks that there is no need to create new plays in Haiyan Melody. In fact， Haiyan has worked hard to save Haiyan Melody scripts over the past five decades. Nearly 40 plays are now in the preserved repertoire. “The plays we have sorted out and preserved are enough for us to perform for a long time to come.”

The troupe performed the 12-act in Haiyan Melody first in October 2015. It was the first big show sponsored by the Institute of Studies for Haiyan Melody and Haiyan Melody Troupe.

Tao Weian and Zhou Wenhao are the key people of the comeback of the local opera. Tao is now 87 years old. He used to work for the countys cultural center and now is the vice secretary-general of the Institute of Studies for Haiyan Melody. He grew up with a passion for regional operas. As an employee of the cultural center， he knew a lot about 30 some troupes across Jiaxing， a central city in northern Zhejiang where Haiyan County is located. He was familiar with troupes repertories and major performing artists. And he was in constant contact with playwrights and major opera artists of these troupes. In the 1980s， he worked to collect materials on regional operas in Jiaxing， for the encyclopedia entitled . As he was learning a lot about history， he became aware of the importance of Haiyan Melody in the history of Chinese operas. Thanks to his efforts， now a relatively complete data bank has been set up. The data includes melodies and tunes of some regional operas that keep some elements of Haiyan Melody. Also in the data are some papers， scripts， research reports， copies of ancient documents.

Zhou Wenhao， now 74， is the director of the troupe. The artists of the troupe are all amateurs： civil servants， doctors， teachers， white-collar workers. Zhou has trained the players as well as the musicians and inducted them into the tradition of Haiyan Melody. In 2009， Haiyan saw the first modern show of Haiyan Melody in the form of a highlight of . In 2011， the troupe came into being.

Nowadays， the performing artists are 50 years old in average， and the musicians are 70 years old in average. The troupe needs young people desperately. A project is already in action and some promising people in the county are being cultivated to be stars of the troupe. Some are really willing to carry on the graceful tradition.

Haiyan Melody Troupe has a long way to go. Since its inception in 2011， the troupe is still without a rehearse space of its own. They have rehearsed in different spaces： offices and halls at a local school for the aged and companies， the public square in town. Sometimes they rehearse at someones home. As they struggle to revive the ancient opera， the hope for the opera to survive exists.endprint