尋跡啞目連

周瓊?胡雅潔

上虞啞目連和杭州西溪啞目連，是一起被列入浙江省非物質(zhì)文化遺產(chǎn)名錄的。根據(jù)《東京夢(mèng)華錄》中對(duì)啞雜劇的描寫(xiě)，可以看出啞目連這種古老而典型的民間啞劇形式，其實(shí)有著北宋勾欄“啞雜劇”的遺蹤。

“臺(tái)上一聲啼，臺(tái)下千人淚;臺(tái)上一聲笑，臺(tái)下萬(wàn)人歡”，這句古老的諺語(yǔ)，道出了中國(guó)戲劇訴不盡的情懷往事。而在中國(guó)戲劇長(zhǎng)河中有這樣一種獨(dú)特的戲劇存在，它沒(méi)有一句唱腔和對(duì)白，配以獨(dú)一無(wú)二的樂(lè)器招軍（），它就是“啞目連”，已列入浙江省省級(jí)非物質(zhì)文化遺產(chǎn)項(xiàng)目。

興盛之地在上虞

在炸雷一樣響的鑼鼓聲中，樂(lè)師吹起招軍，附近的鄉(xiāng)民漸漸聚攏往臺(tái)前觀看，竟看得入神，于是想來(lái)，兒孫忤逆、鄰里是非、善惡功過(guò)都如正在上演的戲劇一般，按下去孟浪狹邪，浮上來(lái)忠孝節(jié)義。最后，且驚且懼、且笑且嘆的啞目連在一片叫好聲中散場(chǎng)。

追溯啞目連的興盛之地當(dāng)屬浙江省紹興市上虞區(qū)，自秦王嬴政設(shè)縣以來(lái)，上虞已有兩千多年歷史。而在這片土地孕育而生的“啞目連”，更是有著一千多年的文化積淀?！端鸵诡^》則是當(dāng)?shù)厝俗钍煜さ囊荒粏∧窟B經(jīng)典劇目，講的是夜頭被無(wú)常戲弄的滑稽場(chǎng)景。身為家丁的夜頭，帶著酒菜飯去墳頭祭祀，途中用酒杯接酒喝，卻總是被無(wú)常半途偷喝了去，于是便就著壺嘴喝，喝不到酒的無(wú)常氣得拿起芭蕉扇扇在夜頭的頭上，夜頭嚇得連忙丟了酒壺對(duì)著周圍揮舞拳頭，接著又坐下來(lái)吃粉條，夜頭吃這頭，無(wú)常吃著另一頭，這一人一鬼、一明一暗，相互輝映，煞是好笑。

其實(shí)在古時(shí)，人們大多有所信仰，倘若家中不幸有人去世，家里便會(huì)派遣夜頭用酒飯去恭送，讓去世的親人獲得安寧。人們實(shí)則是通過(guò)表演來(lái)祈求平安，宣揚(yáng)因果報(bào)應(yīng)、懲惡揚(yáng)善的觀念，通過(guò)啞目連形成精神寄托。啞目連在民間有著濃厚的信仰根基，然而一度興盛不衰的啞目連在發(fā)展過(guò)程中也歷經(jīng)多番波折。

沿襲自傳統(tǒng)的目連戲

啞目連是目連戲的分支，所以追溯啞目連的歷史，應(yīng)當(dāng)先探尋目連戲。

公元3世紀(jì)，大約在西晉初年，《佛說(shuō)盂蘭盆經(jīng)》傳入中國(guó)，述說(shuō)了目連為救地獄中罪孽深重的母親，聚十方僧眾之力使其解脫的故事。而后，南朝佛教大興流布，盂蘭盆節(jié)也隨之廣為傳播。初唐，佛家用梵唄、唱導(dǎo)的方式將莊嚴(yán)雍容的經(jīng)文傳揚(yáng)開(kāi)來(lái)，后演化成以唱為主、曲白相生的變文，使目連救母這一故事在當(dāng)時(shí)家喻戶曉。目連戲在南宋初年，以雜劇的形式變?yōu)閼蛭?，在宋、元、明、清四朝始終與宗教祭祀以及原始民俗相結(jié)合，目連戲的文本不斷被修飾和豐富，但是目連救母的主干卻始終未變。

隨著宋室南遷，“路岐人”帶著諸般曲藝雜耍南下，南方在村坊小技的基礎(chǔ)上吸收了雜劇等其他各種技藝的精華，從而形成南戲——即溫州雜劇。在此北南匯通、風(fēng)俗交融的時(shí)代背景下，目連救母的戲文脫胎而出。

路岐人將這種已成形的戲文自溫州帶至杭紹各地，并遠(yuǎn)播南方腹地，在安徽、湖南、江蘇、江西、福建、四川、廣東、云南等省均有分布，種類之多，聲腔之繁，難以勝數(shù)。

目連戲舊時(shí)在浙江流行甚廣，最興旺的地區(qū)則是在紹興。從目連戲的歷史淵源管窺，紹興目連戲是南戲的遺存。紹興文人雅士居多，從而為戲曲文化的生長(zhǎng)提供了不竭動(dòng)力。除紹興、溫州外，目連戲還覆蓋了現(xiàn)在的杭州淳安、臨安昌化、衢州、開(kāi)化、東陽(yáng)等地，幾乎浙江全省都有目連戲活躍的身影。

除此之外，根據(jù)《東京夢(mèng)華錄》中描寫(xiě)啞雜劇的藝人“金睛白面，如髑髏狀，系錦繡圍肚看帶，手執(zhí)軟杖，各作魁諧趨蹌”中，還可以看出啞目連這種古老而典型的民間啞劇形式，其實(shí)也有著北宋勾欄“啞雜劇”的遺蹤。古時(shí)，啞雜劇在紹興上虞的北部崧廈、瀝海、瀝東、南湖一帶流傳甚廣。如今，它已經(jīng)在歷史的洪流中消逝，獨(dú)留存啞目連。

從宗教劇轉(zhuǎn)化到戲劇

啞目連的內(nèi)容與目連戲相同，在表演時(shí)，絕大多數(shù)演員被要求赤腳出場(chǎng)，穿半長(zhǎng)紅褲，憑身段、手勢(shì)、步伐、神情，外加節(jié)奏井然的配樂(lè)以完成表演。

啞目連承載內(nèi)容的形式由于演出規(guī)模和場(chǎng)地的不同，主要分為兩類：一是迎神賽會(huì)路上，各家戲班各顯神通，《請(qǐng)無(wú)?！贰蹲絼⑹稀返容喎涎?，即“落地啞目連”;二是在廟堂草臺(tái)上表演，則稱為“上臺(tái)啞目連”。表演啞目連的戲班則被稱為“太平會(huì)”，在清末至民國(guó)初，上虞最具盛名的還屬“南湖太平會(huì)”。而上虞是吳越之地，禁忌繁多，在啞目連的發(fā)展過(guò)程中留下了可追尋的遺存。

電視紀(jì)錄片《南宋》里說(shuō)，“孝宗乾道三年，臨安和會(huì)稽都有演出，杭州老和山下東岳廟的儺戲在清初最盛”，這里提及的儺戲，就是啞目連。人們?cè)诩漓霑r(shí)跳起儺舞來(lái)逐鬼除疫，尋求平安康樂(lè)。在其后的發(fā)展歷程中，儺戲完成了從宗教劇到戲劇的轉(zhuǎn)化，而啞目連作為古老儺戲的遺存也受到了影響，演員以油彩涂面代替了原本的面具，用以模仿鬼神，用充滿張力的動(dòng)作取代了武功演示。比如，魯迅先生筆下的無(wú)常頭戴高帽三尺，身穿白布一匹，腳踏草鞋一只，身束絲條一根，項(xiàng)掛銀錠一朵，手拿芭蕉扇一把。

傳承堅(jiān)持中尋找未來(lái)

20個(gè)世紀(jì)80年代，全國(guó)文化系統(tǒng)開(kāi)展了“民間文藝三大集成”工程，約有二十多處啞目連留存得到挖掘。

1985年，上虞召集了數(shù)十名老藝人進(jìn)行搶救性保護(hù)，整理出《閻王發(fā)牌》《請(qǐng)無(wú)?！贰蹲絼⑹稀贰兑古贫珊印贰端鸵诡^》《男吊》《女吊》等二十余場(chǎng)戲。至此，啞目連重新出現(xiàn)在人們的視野中。

2007年，上虞啞目連和杭州西溪啞目連一起被列入浙江省非物質(zhì)文化遺產(chǎn)名錄，給啞目連的傳承帶來(lái)了曙光。

婁素芬，上虞東關(guān)人，現(xiàn)啞目連上虞傳承人，師承非遺傳人趙海富。當(dāng)?shù)氐膫鹘y(tǒng)文化研究者王關(guān)明這樣評(píng)價(jià)她：“婁素芬家族是民間藝術(shù)之家，包括她爺爺和爸爸，都有這方面的天賦?！弊铋_(kāi)始王關(guān)明找的是婁素芬的哥哥婁衛(wèi)銓，希望他能傳承啞目連。婁衛(wèi)銓去世后，婁素芬接過(guò)傳承重?fù)?dān)。從2011年開(kāi)始，她各方奔走，逐漸聚起一支復(fù)排隊(duì)伍。8年的時(shí)間里，她與丈夫高偉海將啞目連從寥寥幾場(chǎng)復(fù)排至十余出，將小戲班擴(kuò)展至30多人。

西溪啞目連的發(fā)展?fàn)顩r與上虞區(qū)一樣，早幾十年經(jīng)歷困境，2014年2月，隨著最后一位傳承人鄭友文的離世，瀕臨失傳。

同年，相關(guān)部門(mén)展開(kāi)了圍繞西溪啞目連的保護(hù)工作，包括走訪西溪文化研究者鄭發(fā)楚，獲得文獻(xiàn)等相關(guān)資料;邀請(qǐng)浙江省京劇團(tuán)的專家朱幼琪、談家治擔(dān)任技術(shù)指導(dǎo)，在社區(qū)內(nèi)組建志愿者團(tuán)隊(duì)復(fù)排啞目連。志愿者既包括年逾古稀的鄭發(fā)洵老先生，也有70后、80后的志愿者，眾人一周四次齊聚在社區(qū)活動(dòng)中心，敲碎了無(wú)數(shù)面練習(xí)的銅鑼，終于將這門(mén)古老的技藝送上舞臺(tái)。

Pantomime Mulian Show in Shaoxing

By Zhou Qiong， Hu Yajie

Shaoxing in eastern Zhejiang is a city of history and culture. It would be a time-consuming task to explain its more-than-2，000-year history and cultural wealth. Take operas in Shaoxing for example. Yueju Opera that emerged in Shaoxing more than 100 years ago and took shape in Shanghai enjoys national popularity that is only second to Peking Opera. Shaoxing Opera， another opera genre popular in Shaoxing， presents a totally different performance style. And there is the unique Pantomime Mulian Show in Shaoxing.

Mulian Show is a unique opera genre in China. It is named after a person while all other folk operas and shows across the country are generally named after their respective regions. What makes the Mulian Show in Shaoxing unique is that it is a pantomime stunt while in other parts of the country Mulian Show performers speak lines and sing arias. The pantomime in Shaoxing doesnt have a single line and an aria for performers to speak and sing. The main musical instrument used in the opera is ， a brass bugle occasionally used in folk music and， in ancient times， in the army.? literally means “summon the army”. The whole pantomime show is accompanied by the bugle and percussion instruments.

All the Mulian Shows in China are named after . It is a popular Chinese Buddhist tale originating in the third century， inspired by tales from India of Maudgalyayana， who is named Mulian in Chinese stories. Mulian， a virtuous monk， seeks the help of the Buddha to rescue his mother， who has been condemned to the lowest and most painful purgatory in karmic retribution for her transgressions. Mulian cannot rescue her by his individual effort， however， but is instructed by the Buddha to offer food and gifts to monks and monasteries on the fifteenth day of the seventh lunar month， which established the Ghost Festival. The monk's devotion to his mother reassured Chinese that Buddhism did not undermine the Confucian value of filial piety and helped to make Buddhism into a Chinese religion.

To be more accurate， the opera was named after the tale. Such a designation is the only one of its kind in Chinas history of theater. The Mulian Opera was brought south after the Southern Song （1127-1279） established itself in Hangzhou. The performance spread to the southeast and southwest of China. In the far-reaching dissemination， the tale evolved and appeared in various forms and performers sang different melodies in different styles and spoke different lines.

The Mulian Opera was popular in Zhejiang in general and in Shaoxing， home to a lot of scholars and well educated people， in particular. Scholars agree that the Pantomime Mulian Opera is partly what remains from the ancient South Opera which originated in the Southern Song Dynasty and fathered many regional operas and that it retains some influences of the pantomime shows in Hangzhou in the Southern Song Dynasty. Pantomime shows prospered for a long while in Shaoxing. Today， only the Pantomime Mulian Opera remains in some places in Shangyu， which used to be a rural county and now a district of Shaoxing.

The Pantomime Mulian Opera shares essentials with Mulian shows across the country. Actors are barefooted on the stage. They wear knee-length pants in red. The difference is that in Shaoxing actors pantomime. The pantomime show is divided into two categories： street performances and theater performances. In a first-category show， performers join a procession marching through streets in special folk ceremonies and festivals. In the second category， pantomime artists perform on a village stage. As the opera evolved， artists had their faces painted heavily.

The Pantomime Mulian Opera shows went out of favor after 1949. Gradually， troupes got disorganized. In the early 1980s， a nationwide preservation project was launched to rescue so-called outmoded folk shows. In 1985， dozens of pantomime show artists in Shangyu were summoned and their shows were videotaped. About 20 plays were taped and submitted to the Ministry of Culture. In 2007， the Pantomime Mulian Opera of Shaoxing was listed as a provincial cultural heritage. This inscription has given the very push the Pantomime Mulian Opera needs for survival.

However， it is a challenge to carry the pantomime show forward. Lou Sufen in Shangyu is now the designated master of Pantomime Mulian Show in Shangyu. She is from a family of Taoists. Zhao Haichuan， a master of intangible cultural heritage， is her tutor. She has been performing the pantomime for a long time. Her grandfather and father were pantomime artists. At first， the local cultural authorities wanted to appoint her older brother as the designated master. He passed away. Since she became the master in 2011， Lou Sufen has been promoting the folk art. Over the past eight years， she has worked in partnership with her husband. The troupe the couple founded has over 30 members. And nowadays they can stage over 10 different shows.