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施家岙：女子越剧的唯美意境
●子 梅
江南有诸多意象,越剧则是江南意境的最好阐发.施家岙是浙江嵊州甘霖镇的越剧小村.村子前有条剡溪水澄潭江,一曲环绕.当年竹篙轻点,载着越剧的小船悠悠撑向外部人世间.
娘家戏班,绳其祖武
施家岙村有祠堂叫“绳武”,语出于《诗》：“昭兹来许,绳其祖武.”90多年前,女子越剧在这里诞生,现在,是娘家戏班的所在地.娘家,意味着母本,也昭示着继续先人的步武.
走进绳武堂,娘家戏班的演员正在演出原汁原味的越剧选段：《十八相送》《何文秀》《西湖山水》……台下是远道而来的旅游者,他们如痴如醉地沉浸在戏文里,手中的折扇随着婉转的唱腔一下一下地轻叩桌面.
笔者几人在绳武堂厢房里的一排相片前久久站住：王金水、金荣水和施银花、屠杏花……是这些人打造了中国第二大剧种,是这些人让嵊州成为了越剧的故乡,是这些人让一个小小的施家岙成为了越剧第一村.
趁中场休息,娘家戏班的琴师石德灿老人跟笔者聊开了：越剧在繁荣了几十年后,忽然走入了低谷,绳武堂改成了学校,正厅作礼堂,厢房作教室,古戏台再也不唱越剧了.藻井破败了,雕刻漫漶了,最后,所有的梁柱都于1989年的某一天轰然倒塌,只剩下几个光秃秃的青石柱脚.
事隔多年,虽然古戏台重新矗立起来,但是石师傅的话语中还带着轻轻的忧伤、淡淡的悲哀.笔者知道,一个村庄有一个村庄的人事痛楚,一个戏台有一个戏台的岁月风尘.髦儿小歌,崭露头角
1923年的大上海,在新世界二楼的红宝剧场内,经营戏班的嵊县施家岙人王金水一边看着大京班的戏,一边想着的笃班的事：他的的笃班几进几出上海滩,都未能赢得观众的喜爱.的笃班的出路在哪里？戏班的商机在何方？
那天,王金水看的是髦儿戏.髦儿戏,就是梳着长髻的女青年、女孩儿唱的戏,多为京剧.“看戏,就是要看女的,尤其要看年轻的女孩.”颇有商业头脑的王金水看了那场戏后,茅塞顿开.
那年,已近清明.王金水迈着轻盈的步子回到温山软水的施家岙.他踌躇满志地要招一批女演员,要办一个女子的笃班.
那时,嵊县乡下的日子难过.王金水到邻近乡村贴了一些招生启示,大意是：施家岙王金水举办绍兴女子文戏班,招收10至15岁的小姑娘,学徒三年,帮师一年.凡愿意入科的女徒,习艺期间衣食住行概由老板负责,并每人给薪大洋60块；期满出师各发皮鞋一双、旗袍一件、金戒指一只.同时许诺,如果不放心的话,家长可以来班帮工,照料自己的女儿.
为了叫人放心,王金水让小女儿王桂花及内侄女施银花也进班学戏,最终招收了22人,大的13岁,小的9岁.班主王金水,领班王金水、王国钧、袁道才,师傅金荣水、王和铨,乐队王春荣、过樟根、竺春云、邢子标.后人誉王金水、金荣水为女子越剧创始人.第一代名伶施银花、赵瑞花、屠杏花、沈兴妹、马秋霞等就从这里崭露头角.
文武女班,乡间成长
王金水的女子科班的习艺地在八卦台门的陈家.这幢三间两层的砖木楼,如今是村里的越剧纪念室.透过青的砖、黛的瓦、浅的木柱浮雕,依稀能想见当年吊嗓子、练武功、舞水袖的热闹场面.
苦练数月后,这女子科班作第一次演出——串红台.王金水本想借用绳武堂,可是却被冷冷地拒绝了.绳武堂悬挂着“安贫富,务正业”的训诫.
于是,王金水在晒场空地上搭起一座草台.1923年7月9日,演出举行.后来学界认为,那次演出是女子越剧的首次登台,标志着开端.
是年冬,王金水带着他的女子科班赴上海,在升平歌舞台挂出了“绍兴文戏文武女班”的牌子,剧目有《四香缘》《双珠凤》《龙凤锁》等.
从小在山村长大的小姑娘,如何见过大都市的场面？灯光打在舞台上,映得戏院辉煌璀璨.舞台与草台终究有着天壤之别.小姑娘们被唬住了,她们在台上忘了进入戏中的角色,她们被动地唱、被动地做,却忘了把自己的情感注入戏中的人物.
第一次进上海,她们铩羽而归.然而,当这些颇受重创的小姑娘回到家乡时,却受到了空前的欢迎.绳武堂也破例向她们开放！在乡亲们眼里,她们都是闯过上海滩的大人物了.自此,施家岙女子科班每在家乡演出,总是场场爆满.到后来,几伙人为了请她们戏班,竟至于引发冲突.
一阵阵深沉的唱腔,一声声温婉的曲调,夹杂着田间的气息,从乡野、河埠袅袅升起.女子越剧在故乡肥沃的土壤里茁壮成长.
女子越剧,化蝶嬗变
20世纪30年代,女子越剧终于在上海站稳了脚跟；40年代,还呈现出百花齐放的繁荣景象.这是历经化蝶般的嬗变,人们不会忘记王金水的女子科班,不会忘记施家岙以及绳武堂.
为了展示女子越剧发源地风采,甘霖镇于2006年组建了娘家戏班.娘家戏班每天在绳武堂为游客免费演出经典折子戏,压轴戏有老调如施银花的《盘夫·官人好比天上月》《玉蜻蜓·哭图》、屠杏花的《山伯闻言喜满怀》等.娘家戏班有时还去四工亭和剡溪竹排上演出.
2009年9月,“相约越乡”全国戏迷擂台赛在施家岙揭开序幕.此后,每月一次比赛.曾有一帮来自江苏的戏迷,因为迷恋“三花一娟一桂”的老调,竟然一口气点了20来个唱段.这个流派方唱罢,那个流派又登场；台上越音婉转,台下叫好连连；绳武堂浸润在竹肉清发之中.
今年,越剧风华百十周年.施家岙及周边丽湖、苍岩一带又建设起嵊州越剧小镇.人们愿越剧悠悠之韵回响千年.
笔者结束采访返回时,频频回首,蓦然发现,施家岙的村后青山弧形抱揽,村前碧水款款行过,山与水与村庄组合,仿佛一把越剧小生打开的折扇,似乎冥冥之中,便有施家岙和越剧前世今生的联系.
（本文摄影：求向东）
Shijia’ao: All-Women Yueju Opera Troupe Started Here
By Zi Mei
All-women performance of Yueju Opera started in Shijia’ao, aall village in Ganlin Town, Shenzhou City, Zhejiang Province.It all started with Wang Jinshui, a native of Shijia’ao. He ran illage troupe in Shanghai, but he ran into failure again and again.He was watching a Peking Opera play at the Red Gem Theaterin New World in Shanghai while he hit upon the idea of stagingall-women performances of Yueju Opera. He believed it was a solutionto his business failure. As theatergoers in Shanghai loved tosee young women performing, why not? He came back to Shijia’aoand tried to enroll young girls. He wanted girls at the ages from 10to 15. All the young girls would learn acting for three years and hewould foot all the bills. After the three- year training course, theywould work a year without pay for him. He offered additional incentivessuch as a gold ring and Qipao for those who could workthrough the training course and graduate. He went out of his way toensure the parents to work for him and watch their daughters.
Altogether he recruited twenty-two girls, aging from 13 to 10.His daughter Wang Guihua and his niece Shi Yinhua were amongthe twenty-two. He was the manager. He and Wang Guojun andYuan Daocai worked as foremen. Wang Rongshui and WangHequan served as tutors. The band was composed of Wang Chunrong,Guo Zhanggen, Zhu Chunyun and Xing Zibiao. Today, WangJinshui and Wang Rongshui are considered the founding fathersof all-women Yueju Opera performances. Five girls of the trainingcourse grew up to be the first-generation Yueju Opera stars.
A two-storied house that belonged to the Chen Family in thevillage was used as the space for the training course. The house ofwood and brick now serves as a museum for all-women Yueju Operaperformance.
After training of a few months, the all-women troupe was alreadyto start its first village show. Wang Jinshui eyed ShengwuHall, a memorial space in the village. But his request was declined.So a makeshift stage was set up on the village’s threshingground and the young troupe performed. It was July 9, 1923. It isnow widely agreed that the performance on a makeshift stage bythe village’s threshing ground was the first-ever all women performanceof Yueju Opera.
Toward the yearend of 1923, Wang Jinshui was ready to try hisnew cast in Shanghai. The troupe was to stage three plays at ShengpingTheater. However, the girls were too inexperienced and scaredby the grand stage they had never seen before. Their first adventurein Shanghai was a total failure. However, when the troupe cameback to Shijia’ao, the young girls were considered heroes. Afterall, they had performed in the great city. The Shenwu Hall openedits door to the all-women troupe. From then on,whenever the troupe came back home, villages inthe region vied each other in inviting it to stageshows there. Some fights even erupted when villagesdisagreed about show arrangements.
In the 1930s, all-women Yueju Opera troupeinally became the mainstream in Shanghai. Inthe 1940s, the troupes flourished and new womenstars emerged.
Ganlin Town set up an all-women troupe in2006 and calls it Mom’s Home Troupe. Thetroupe performs at Shenwu Hall every day freefor tourists. The repertoire includes many interestinghighlights that date back to 1923.
Shijia’ao in Ganlin Town nowadays hosts amonthly competition for all the amateur YuejuOpera artists all over the country. It attractsenthusiasts from all over the country. Manyfans remember the old generation stars. On oneoccasion, a group of fans sang 20 arias of thefirst-generation women stars.
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