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赣剧《红楼梦》打出“青春版”的旗帜,组建了一支实力强盛的编创团队,以曲牌体为音乐的结构形式,以诗社为主线演绎大观园青春故事,为2022年的观众捧出一席全新的视觉盛宴。回味赣剧“青红”,它有三个显著特点。
一是删繁就简,妙手镕裁青春诗意的结构。编剧罗周立足于大观园诗社活动,用“结社、兴社、衰社、散社”四个点撑起这部戏的骨架,用闪回、切割、挪移、拼接等影视艺术手段,将省亲、葬花、共读、游园、醉眠、挨打、焚稿、出家等“名场面”,镶嵌在咏园、咏海棠、咏菊、咏蟹、咏柳絮等诗社活动进程之中,同时穿插黛玉的《葬花辞》《桃花行》等,重构了故事,营造了名副其实的诗意化青春氛围。“青红”虽未选取原著中可卿出殡、凤姐治家、抄检大观园等重要故事,也没有像越剧《红楼梦》那样以宝黛爱情悲剧为主体,但罗周所谓的“名场面”,在原著中与前述故事一样,都是作为小说脊梁而存在的经典情节。编剧对情节的取舍和裁剪,既符合戏曲“起承转合”的结撰规则,又凸显了“青红”讴歌诗意青春的主体倾向。同时,该剧以元妃省亲而引出众钗咏园、探春结社始,以元妃之死而导致诗社衰落、宝玉出家终,将十二钗青春生命的悲剧和贾宝玉人生道路的悲剧,置于贾氏家族由盛而衰的历史悲剧的宏大背景下展开,集中而深刻地揭示了《红楼梦》原著的三重悲剧主题及其内在的逻辑关联。这样的结构,首尾呼应、开合有致、简中见繁、约而多元,堪称高妙。
二是化俗入雅,彩旦彰显闺阁生命的张力。“青红”不仅在结构、人物、曲白等层面捕捉并突出了原著“雅”的元素,而且在灯光、布景、服饰、道具等舞美设计上,也达到了以简胜繁、大简至雅的境地。但在“兴社”一出,刘姥姥的滑稽身段几乎贯串始终,约占全剧的1/5时长,俗到极致,丑到极致;而正是村妪的“丑俗”,烘托了少女诗人群的“清雅”。傅惜华曾说:“余意凡一部传奇,须有滑稽之角色,穿插于中,以提起观众趣味,不致终场寂寞,方成杰作。”以导演张曼君为首的“青红”主创团队,选取并聚焦于原著刘姥姥游园这一经典桥段,起用男演员扮演彩旦,增加武戏元素,让刘姥姥斜刺里出场,在游园进程中表演醒目的“抢背”动作,以凸显其惊诧莫名之态、手舞足蹈之相、夸张怪诞之形,有横云断岭之美,又有横桥锁溪之效,不唯自身光灿耀眼,且与诗社生活的高雅情调形成绝佳的场面“对抗”,消解了“诗意化”与“戏剧性”的矛盾,由此也越发彰显出大观园闺阁诗人群体的生命张力。武戏成就“青红”,大俗遂臻大雅,以俗衬雅,俗雅浑融,正是佳境。
三是融杂为一,扇舞铺张悲剧主题的氛围。江西赣剧院曾邀请昆曲名家对“青红”演员作歌舞身段的强化训练,以使表演更加规范和精致,由此提升了这部红楼戏的审美格调。“青红”使用了大量的扇子功:黛玉的遮面扇,宝玉的落花扇,湘云醉眠时的卧鱼扇,配合身段与情绪,非常唯美。尤能见出匠心的是,张曼君设计以折扇为“群舞”表演道具,演出了齐整而精致的象征意味:放风筝时,群芳仰头手持合扇舞向半空,虚拟了风筝在空中起起落落的态势;荣府抄败时,众人开扇齐演“卧鱼扇”,展示了“群芳委地”的悲凄景象。黛玉“焚稿”焚的本应是诗帕,导演却灵心独运,将折扇替代了诗帕,黛玉撕毁诗扇更见动感;同时,左右各有三钗隐在黛玉后侧,以“撕扇”动作对称式应和“焚稿”场面,既意味着诗社的衰落,也象征群芳的逝去。诗社由兴到衰,意味着人文精神的失落;群芳撕扇焚稿,昭示了闺媛文化的毁灭。“青红”就是这样以扇舞与群舞,以更集体的方式,阐释了两百多年前一群闺阁知识分子的悲剧命运,凄美而深刻地揭示了“千红一哭,万艳同悲”的主题。群芳扇舞可谓大美无言,令人沉迷其间,回味无穷。
诗社的兴衰重构了故事,也解构了诗意与青春。“青红”以其立体化、具象化的舞台呈现,酝酿出共读、葬花、挨打、焚稿等经典桥段的饱满情绪,演绎了“家族衰败群芳碎”的主题内涵,很好地达成了以戏曲诠释文学名著、借舞台传扬经典文化的编演目标。它在托举一批年轻演员的同时,也以其精美悲凄的格调熏陶了众多年轻的观众。当然,如果“青红”能再多些水袖的群舞,服饰再多点区分度,黛玉焚稿能改在钗玉成婚同时以增强对比效果,会更具视觉冲击力,更有悲欣交集的哲学高度,而“红楼”则会更“上”了。(俞晓红)
来源: 中国文化报
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