武義“草昆”的非遺傳承與發(fā)展

蔣惠婷

歷史尋蹤

“金華昆曲在武義，武義昆曲在陶村?！?/p>

武義昆曲是昆腔流傳在金華一帶、并輻射浙中其他地區(qū)的支派，因常年演出于農(nóng)村草臺、廟會、祠堂，以農(nóng)民為主要觀眾，語言較為通俗，故又稱之為“草昆”（這只是與魏良輔、梁辰魚改良后的昆腔水磨調(diào)、即“正昆”相區(qū)別而言）。武義昆曲能夠傳唱百余年，離不開世代陶村人對它的文化自覺與自信，10年前，被列入浙江省非物質(zhì)文化遺產(chǎn)名錄。2016年7月，筆者參加“千年桃溪·百年絕唱”武義昆曲調(diào)研活動，以省級傳承人何蘇生，縣級傳承人胡奇之、何育美以及陶村其他村民為訪談對象，對“陶村班”進(jìn)行了田野調(diào)查，認(rèn)為，武義昆曲的傳承與發(fā)展?fàn)顩r，可看作研究當(dāng)下非遺保護(hù)的一個縮影和實例——尋求積極的小眾，謀求大眾的關(guān)注。

筆者首先探尋“陶村班”起源的生態(tài)環(huán)境，回顧它百余年的滄桑歲月與文化記憶。

人類的文化活動，以自然環(huán)境為物質(zhì)基礎(chǔ)、社會環(huán)境為人文空間，兩者共同構(gòu)成了生態(tài)環(huán)境。陶村地處武義縣西南部，背山臨水，歷史上，相對遠(yuǎn)離紛擾戰(zhàn)事，村民安居樂業(yè)，閑暇之時喜歡吹拉彈唱，從而為“草昆”的形成和發(fā)展提供了先決條件。

陶村是陶淵明后裔最大的聚居村，俗稱“江南桃花源勝地”。陶村人歷代以耕讀為本，十分重視教育，這為陶村昆曲的形成奠定了極其重要的人才基礎(chǔ)，民國續(xù)修《宣平縣志》記載：清乾隆時期，武義“一時談文藝者以桃溪為最”。

金華一帶自明嘉靖以來相當(dāng)流行昆曲，至清道光間，影響大盛，出現(xiàn)了28個職業(yè)大班和眾多業(yè)余班社。民國年間，金華昆劇奄奄一息，各班于新中國成立之初解散，但武義昆劇團(tuán)一度猶存，劇目數(shù)多達(dá)70多本，冠全國專業(yè)昆劇團(tuán)之首。改革開放后，金華民間或有成立業(yè)余昆劇團(tuán)的，武義昆曲則以“陶村昆曲傳藝社”為代表。

陶村昆曲傳承有序，經(jīng)歷了初創(chuàng)期（1909—1933），陶村昆曲愛好者徐鳳鰲、陶云芳等創(chuàng)立民間曲社儒琴堂，后改翕如堂；成長期（1934—1954），翕如堂改為民生樂社；輝煌期（1955—1968），民生樂社被批準(zhǔn)成為縣級專業(yè)劇團(tuán)宣平昆劇團(tuán)，后改武義昆劇團(tuán)；空白期（1969—1977），武義昆劇團(tuán)與武義婺劇團(tuán)合并為武義文工團(tuán)；復(fù)興期（1978—1986），陶村昆曲老藝人徐五連、何增土、陶振通等繼續(xù)傳授“草昆”，成立桃溪昆劇團(tuán)，又改陶村鄉(xiāng)昆劇團(tuán)，后解散。

現(xiàn)實審視

2001年5月，昆曲被聯(lián)合國教科文組織列為“人類口頭和非物質(zhì)文化遺產(chǎn)”。它是中國第一個世界級非物質(zhì)文化遺產(chǎn)。喜訊傳來，給具有高度延續(xù)性的武義昆曲的傳承與發(fā)展提供了新機(jī)會。

武義昆曲起初完全是依照昆腔華麗婉轉(zhuǎn)、念白儒雅、表演細(xì)膩、舞蹈飄逸的特點(diǎn)進(jìn)行表演，而后因武義昆曲長期根植農(nóng)村，為適應(yīng)當(dāng)?shù)剞r(nóng)民的審美傾向，一代代藝人在唱腔、動作、劇目等方面化雅為俗，逐步形成了不同于“正昆”的獨(dú)具草根力量的藝術(shù)特色。

武義昆曲在音樂上吸收了民間音樂和婺劇中一些粗獷通俗的元素。在唱腔上，在原昆腔水磨調(diào)柔曼和緩的基礎(chǔ)上，減少裝飾性的花腔，再加上武義本地的語言聲腔，不拘泥于四聲格腔，因此節(jié)奏變快、氣勢增強(qiáng)。在念白中，由原來的中洲韻的腔韻，除丑角要求念蘇白外，其他角色的韻白轉(zhuǎn)接“地方官話”。在表演動作上，糅合當(dāng)?shù)孛耖g舞蹈的身形步法，從而使昆曲逐步演變成具有濃郁武義地方特色、深受武義老百姓喜愛的民間藝術(shù)。

武義昆曲的劇目大都出自當(dāng)?shù)氐讓游娜伺c藝人共同創(chuàng)作的演出臺本，講究情節(jié)誘人、通俗簡明。以前的曲本大體可分為兩種，即有工尺譜的和僅在唱詞旁標(biāo)有板眼符號的。老藝人憑借這兩種古老的曲本向?qū)W藝者傳授技法，可惜僅有部分曲本流傳下來。

武義昆曲原多為文戲，表演以柔性動作為主，后受亂彈、徽班戲的影響，藝人編排了一些神話劇、傳統(tǒng)劇來招攬觀眾，強(qiáng)調(diào)神似意深，不茍求細(xì)膩柔情，形成了以演出武戲、大戲、做工戲為主的特色。化妝上，除花臉外，其他與京劇類似。表演形式上，唱、做、念、打相結(jié)合。

“草昆”戲中多牛、鬼、蛇、神等另類角色，因此有豐富多彩的面具或頭具，后來樣式全部被銷毀。1985年，《武義縣戲曲志》編輯部在戲曲普查中，邀請何蘇生根據(jù)回憶重新畫出。

武義昆曲的主要演員、樂師分后堂、男堂、女堂，其中，后堂中有樂隊6人，男堂中有“三花臉”“四白臉”，女堂中有“七色頭”。

各類角色的臺步都有規(guī)定，一般角色以五步為準(zhǔn)，武打以二步半為一陣，刀槍對打與婺劇相似。伴奏樂器大都使用大鑼大鼓、大小鎖吶，以笛子為主，笙、三弦為副，鑼用蘇鑼。

文化自救

非物質(zhì)文化遺產(chǎn)保護(hù)是經(jīng)濟(jì)發(fā)展到一定程度后，民族文化面對外來文化的一次自省。2006年5月，浙江昆曲被國務(wù)院列入第一批國家級非物質(zhì)文化遺產(chǎn)名錄。2007年6月，武義昆曲被浙江省政府列入第二批浙江省非物質(zhì)文化遺產(chǎn)名錄。在國家和政府的重視和支持下，陶村昆曲愛好者們也認(rèn)識到“草昆”價值，開展了許多文化自救活動。

2002年，在季貴平、何育美等人的推動下，村民們成立了業(yè)余的陶村昆曲傳藝社，現(xiàn)有成員30多人，平均年齡近50歲。何蘇生和胡奇之兩位老藝人經(jīng)常到場指點(diǎn)，從而使武義昆曲再次綻放異彩。多年來，傳藝社經(jīng)常演出，并參加各類比賽，獲得許多獎項。每年除夕夜巡游村中大街小巷的《浪街曲》，是傳藝社的必備節(jié)目，但只留存《文路》《插花飲酒》和《小令》三支樂曲。

位于陶村的桃溪小學(xué)和桃溪中學(xué)，近年來分別開設(shè)昆曲興趣班，每周90分鐘。不少小學(xué)生表示，通過興趣班才知道本地有“草昆”，一接觸才發(fā)現(xiàn)“草昆”很有意思。中學(xué)生說，我們感受到了“草昆”的文化厚度，也借以提高藝術(shù)和文化素養(yǎng)。

已到古稀之年的何蘇生和胡奇之兩位老搭檔，年輕時忙于劇團(tuán)工作，退休后依然熱心昆曲事業(yè)，受聘武義蘭香藝校，參與多場搶救性專場演出。前些年，何蘇生耗時5年編著的《武義昆曲》一書正式出版。目前，他倆正致力于搜集整理舊劇本、曲譜、臉譜，以期出版武義昆曲合集。

“正昆”多演出于富貴人家的高墻之內(nèi)，而“草昆”演出于市井鄉(xiāng)村的草臺之上；“正昆”的受眾多是達(dá)官貴人、文人墨客，而“草昆”的受眾是尋常百姓、工匠雜役；“正昆”扮演的多是繁難、文雅的折子戲，而“草昆”扮演的是刪繁就簡、化雅為俗的全本戲。經(jīng)歷過歷史的洗禮，“草昆”已根植于老一輩陶村人的心中。誠如當(dāng)年金華地區(qū)流傳的佳話：“陶村人人會唱昆曲，連挑鹽的都唱得一絕?！痹诮裉?，這種技能也并未完全消亡，它滲透在部分陶村老人生活的方方面面，在田里耕作、在河里捕魚、在家里洗衣做飯、在樹蔭下乘涼……這些簡單淳樸的場景中都能聽到他們哼唱昆曲。

未來思考

即使武義昆曲已經(jīng)成為“省遺”，并在向“國遺”申報中，也并沒有改變其日漸凋落的境況。傳承是生存特點(diǎn)，進(jìn)化是發(fā)展規(guī)律，要想使非遺本真的、整體的、“以人為本”的、活態(tài)的、可持續(xù)發(fā)展的保護(hù)下來，武義昆曲則面臨諸多困境。

非物質(zhì)文化遺產(chǎn)的審美價值和社會價值，歸根結(jié)底是由參與其事的人所創(chuàng)造、傳播并最終得以實現(xiàn)的。所謂武義昆曲的傳承，歸根結(jié)底是人的傳承。武義昆曲在傳承中遭遇的根本問題就是人才的缺失，傳承只能靠“草昆”的學(xué)術(shù)化研究和以“陶村昆曲傳藝社”為代表的民間曲社。

曲社活動具有自發(fā)性、周期性等特點(diǎn)，往往是曲友出于興趣而自發(fā)組織的，因而在具體傳承內(nèi)容上缺失宏觀和長遠(yuǎn)規(guī)劃。最致命的是，曲社沒有吸納年輕血液，隨著人們的淡忘或老藝人死亡，武義昆曲將面臨逐漸消亡。

受眾的培養(yǎng)是關(guān)乎武義昆曲可持續(xù)發(fā)展的關(guān)鍵。然而，在現(xiàn)代，老一輩的“草昆”受眾因老齡化而慢慢衰退，中年受眾群出現(xiàn)了斷層，青少年群體又受到流行音樂等娛樂方式的沖擊而缺乏認(rèn)同感，武義昆曲前景渺茫。

武義昆曲因其采用大量的地方方言或許會成為它推向全國的一大難題，但是與外國人欣賞中國傳統(tǒng)戲曲相比，國人聽武義方言又有何妨？這恰是符合了非遺保護(hù)中提到的維護(hù)民族文化創(chuàng)造，促進(jìn)世界文化的多樣性，我們有責(zé)任把武義昆曲活態(tài)地保護(hù)好，傳于后世。

“熟知未必真知”，文化意識產(chǎn)生于對文化體系的獨(dú)到和整體的認(rèn)識。我們是否可以嘗試讓年輕人體驗“桃花源”中尋常百姓的日常生活和民俗活動，使他們期待在生活中出現(xiàn)“草昆”來獲得輕松和快樂，滿足在快節(jié)奏環(huán)境下的都市人對田園牧歌式生活的心理訴求。

武義昆曲的起源和演進(jìn)是人對一定目的的表達(dá)，它反映當(dāng)時社會群體的價值取向和審美取向，而它發(fā)展到行將消失的今天，實質(zhì)是情感或動機(jī)的表達(dá)出了問題。武義昆曲要想實現(xiàn)復(fù)興，就必須放棄舊表達(dá)，尋找新表達(dá)，重新定位，尋求積極的小眾，并謀求大眾的關(guān)注。

（本文照片由作者拍攝）

Grassroots Kunqu Opera in Wuyi

By Jiang Huiting

Jinhua in central Zhejiang used to be a stronghold of Kunqu Opera， one of the Masterpieces of the Oral and Intangible Heritage of Humanity inscribed by UNESCO in 2001. Toward the last decades of the Ming （1368-1644）， Kunqu Opera went southward from Suzhou and Hangzhou into central Zhejiang and found its audiences. The Kunqu opera troupes put their roots down in this part of the province and flourished. Through the Qing （1644-1911）， the opera enjoyed popularity in Jinhua. Though the operas general appeal has long since waned in the region， whats known as Grassroots Kunqu Opera is alive in Tao Village， Wuyi， a county in Jinhua.

Grassroots Kunqu Opera is a rural version of the elegant opera genre. The troupe in Tao Village has existed on and off for over one hundred years. Village historians and scholars have traced the roots of the village tradition to 1909 when a village troupe was set up. From 1934 to 1954， the troupe matured. The most glorious time for the village troupe went from 1955 to 1968. The county government sponsored the troupe and renamed it as Wuyi Kunqu Opera Troupe. Then the troupe didnt survive the cultural tumult raging in the late 1960s and early 1970s. It merged with another troupe in Wuyi and stayed low. In 1978， some Kunqu Opera artists in the village organized a village troupe again. They coached younger artists and performed. The troupe disbanded in 1986.

The classical Kunqu Opera troupes in big cities such as Hangzhou and Suzhou entertain an elite audience. Their repertoire contains long plays such as and A complete performance of such a classic play can go on for many evenings. Characters speak poetically， sing lyrically， and dance elegantly. The traditional set tunes of the urban version of Kunqu Opera are melodious and soul-touching.

The grassroots Kunqu in Wuyi is very different. It is so different that if you didnt know， you wouldnt recognize it as Kunqu Opera. Without its urban restraints and elite audience， the opera has gone wild in the rural Wuyi. It has absorbed elements from other regional opera genres. Romances are largely dismissed from the repertoire. Written and perfected by local playwrights and actors， the grassroots repertoire of Kunqu Opera in Wuyi is nothing like its more gracious and poetic urban cousin. There are no highlights performances. A complete story always starts and ends in one evening. A big part of the repertoire developed in Wuyi includes myths featuring gods and monsters. Performances are full of weighty noise made by big-sized drums and gongs and loud pipes such as the bamboo flute and the Suona trumpet. Kungfu is a huge allure that pulls audience in. Folk dance is fused into performance. Only the clown still speaks the dialect of Suzhou where Kunqu Opera originated and matured. All other characters in the grassroots Kunqu Opera plays have long since switched to the dialect of Wuyi.

Grassroots Kunqu Opera actors speak faster and louder. Some characters wear masks looking like animals and ghosts. In these performances that target rural theatergoers， poetry， lyrical music， courtly dance are pushed aside into corners， so to speak. The grassroots performance follows its own stereotypes and rules. The six-man band includes percussionists who beat drums and gongs. The bamboo flute player is the lead musician.

The Kunqu Opera troupes struggled in Jinhua for decades in the 20th century. Some troupes simply vanished. But some artists have persisted， keeping the grassroots tradition alive and entertaining rural theatergoers. After learning that Kunqu Opera was inscribed as a world heritage in 2001， the grassroots Kunqu artists in Tao Village set up a troupe in 2002. At present， the troupe has 30 plus amateur artists whose ages average nearly 50. Over years， the troupe has taken part in various rural events， including an annual village-wide parade on the eve of Spring Festival.

In 2007， the grassroots Kunqu Opera was inscribed as a cultural heritage in Zhejiang. He Susheng， a native of Tao Village， is a grassroots Kunqu Opera master designated by the provincial government. Hu Qizhi and He Yumei are grassroots Kunqu Opera masters named by the county government. These masters are entrusted to carry on the Wuyi-style Kunqu Opera.

About the future of the grassroots Kunqu Opera， the Kunqu Opera artists in Wuyi and those concerned with the opera including scholars and government officials have put forward this idea： the ancient Kunqu Opera in Wuyi will always remain a cause for only a core of people. There is not much they can do， however. At present， young people are not very much interested to take part in the grassroots tradition. In a primary school and a middle school in Tao Village， students are exposed to the grassroots Kunqu Opera 90 minutes a week. They show some lukewarm interest.

Some rescue works have been done. The old-time masks were first restored in the 1980s. He Susheng has published a book titled . Right now He Susheng and Hu Qizhi are working together to collect and sort out scripts， music and masks， in the hope that a book on the music of Kunqu Opera in Wuyi style can be published in the future. But the two artists are already in their 70s.