应对“越女争锋”的挑战
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在欢庆中国越剧百年华诞的日子里，中央电视台戏曲频道、上海文广新闻传媒集团联合主办“越女争锋”越剧青年演员电视挑战赛，经过紧张的角逐，于2006年10月7日在上海落幕，绍兴小百花越剧团小生演员张琳以最高分雄踞十强榜首，现刊登张琳获奖后的体会文章，以飨众多越剧爱好者和广大读者。
在越女争锋整个比赛过程中，我作为一名青年演员，要被观众所熟悉和认可，需要的是机遇和展示的平台。感谢这次“越女争锋――CCTV青年演员电视挑战赛”给我们新人搭建了一个脱颖而出的平台，这是一次很好地向全国观众全面展示我们新一代越女的机会。
经过初赛、复赛、决赛两个多月的激烈竞争，一次次的换戏，尤其是决赛中一共涉及的四个项目，是我在以前的比赛中从未遇到过的，压力很大！这其中付出的艰辛和苦累，我相信每位参赛的选手心里都会记忆犹新。
面对这么高强度的竞赛单元，在经受考验的同时，我学到了许多对自己未来事业有着极大帮助的东西，为将来适应高强度的演出打下了扎实的基础。
难忘“团队精神”
在比赛中我觉得最让我感动和难忘的是团队精神。在这里我得感谢众多老师和同事们的悉心帮助，虽然在最后的比赛场上只有我一个人站在舞台上表演，但这其中不知包含了多少人的心血，倾注了多少人对我的期望和关爱！
难忘8月1日的初赛。在这么炎热的夏季，乐队、舞美队还有另外八位为我配戏的演员，顶着酷暑毫无怨言，非常尽心尽力！
复赛前的暑期，浙江京剧团的姜振宇（既是我的老师又是我的同学）整整半个月天天为我排练《忆十八》，他是对我最“狠”的一个老师，每天排练前30圈圆场是必须的（以前练习走圆场最多也只有十来圈）。在那么高温的天气里，我三件衣服都被汗水湿透了（因怕褶子被汗水弄坏，我在里面又加穿了一件Ｔ恤）。排练中动作的角度稍有不对都要重新来过，眼神不到位也要反复训练，直到他满意为止。他在排练中教得非常仔细，一丝不苟，从他的身上我学到了很多优秀的东西。
汤小东和李燕华两位作曲老师为我设计音乐、唱腔，并且在休息日、火车上及演出空隙为我配乐，指导唱腔；还有浙江歌舞团国家一级作曲王天明老师，在才艺比赛中为我无偿制作音乐《春江花月夜》；吴调珍和杨丽芳两位老师对我所演角色的情感处理和动作进行了深入的加工和细化排练；吴素英和陈飞两位师姐看了《忆十八》，悉心指点了我表演的不足之处；为了舞台上的一把扇子，副团长叶瑞芳赶夜工帮我在两把扇子上画了八只彩蝶；师姐于伟萍用胶水把金粉一粒粒沾到彩蝶上；化妆师董燕为了我们的比赛，放弃休息来回奔波；七十多岁的门卫老杨不管我练到半夜几点，都陪着我到很迟才关门上锁，毫无怨言；因为赛事和北京万里行演出同时进行，剧团领导带着我们来回坐了四趟飞机，北京、上海两地跑，还亲临赛场为我们鼓劲，这样的团队精神给了我在舞台上的信心和力量！
在决赛前夕，尹小芳老师因身体不好住院，但是我参加决赛的剧目是老师的代表作《浪子成龙・书房》，于是老师为我找了一间很大的病房作为排练厅，亲自示范，为我设计动作，老师满头大汗地教戏，我深深地被感动了！我从老师身上看到了为艺术无私奉献的优良品质。
自唱自弹《将进酒》
在才艺大比拼中，我自弹自唱《将进酒》。诗词演唱是“越女争锋”决赛中最具创新精神的一项，选手必须用越剧声腔在3分钟左右的时间完整地演唱所选诗词，力求将诗词的意境美与越剧的声韵美结合起来。
我参赛的这段唱腔，不论是唱腔设计、古筝弹奏、服饰搭配，李燕华老师都为我出谋划策，要求我把李白的《将进酒》表演得十分立体和完整。不过由于表演难度大，时间紧，要将这《将进酒》用筝演奏好也真当不容易！为了练好这个节目，我把古筝带到大剧院化妆间，趁排练空隙见缝插针，放弃睡眠，拼命地练习。刚开始边弹边唱时总是手快唱慢，很难进入状态，有时练得整个人一阵阵发热，心情也很烦躁，但我只能静下心来，深知什么事都不能毕其功于一役，需要慢慢地磨合和渐渐地进入状态。
比赛那一刻，我站上舞台，心跳在加速，内心甚是紧张。我从来没有上台演奏过古筝，现在又是自弹自唱，真有些慌乱！但当我一眼看到乐池中的燕华老师用十分坚定的眼光看着我时，一下子给了我信心和力量！我站到筝前一整衣襟，全场顿时鸦雀无声。当伴随着最后一道低沉的“铮――”声，全场的观众顿时掌声如雷，经久不息，最后得到评委99的高分。
得奖只是艺术道路的起点
越剧界的一名新人能够在这么好的平台中自由地施展自己的才能是幸福的。“越女争锋”的舞台已经谢幕，我十分珍惜这个充满艰辛的奖项。有时静静地、一个人会去回味比赛的每个画面。但我想到：获奖只能代表昨天，人需要在名利、荣誉面前学会保持清醒的头脑，永不满足。我会把它作为艺术道路的起点，在以后的艺术生命里多加强文化情操的修养，多学习吸收、积累其他剧种优秀的艺术――博观而约取，厚积而薄发！
Winner of Yue Opera Competition
By Zhang Lin
Editor’s note: the year 2006 marked the 100th anniversary of the genesis of Yue Opera, a local opera of national renown that originated in Zhejiang Province. To celebrate the 100 years of the Yue Opera, CCTV and Shanghai Media Group jointly hosted a talent contest for promising Yue opera artists. The curtain fell on the event on October 7, 2006. Zhang Lin, an artist from Shaoxing One Hundred Little Flowers Yue Opera Troupe, won the contest. The following is her story about her participation in this contest.
Opportunities and a platform are what I need most as a young Yue Opera artist for recognition of audiences. I got both opportunities and the platform from the contest. This event gave all of us young Yue Opera artists a chance to show our best.
Competitions through preliminaries, semifinals and finals were fierce. I presented different performances for each competition and prepared four in all for the final. Never in my career had I experienced such pressure and hard work. I have learned a great deal from the competition and I believe that the experience will help me go far in my career.
Team Spirit
The most unforgettable part of this experience was team work. I competed alone, but what I did on the stage embodied expectations and concerns from a whole team. They put their endeavors into my performances. In the preliminaries, the eight artists from the band and the dancing team worked with me on August 1, one of the hottest days in summer. Before the semifinal, I rehearsed under the guidance of Jiang Zhenyu from the Zhejiang Peking Opera Troupe. He paid meticulous attention to all the details and my performance had to be perfect before I could stop. Tang Xiaodong and Li Yanhua were my music instructors and composers. They composed pieces for me and instructed me how to interpret the melodies. Wang Tianming, a state top-class composer of the Zhejiang Singing and Dancing Troupe, made the music tape of A Moonlit Flower Night on a Spring River free of charge. Wu Diaozhen and Yang Lifang advised me on the facial expressions and postures and gave me detailed suggestions during my rehearsals. Wu Suying and Chen Fei, two veteran artists, watched my performance and advised me on improvements. Ye Ruifang, vice director of our troupe, worked overnight painting eight butterflies on two folding fans for my performances. Yu Weiping glued golden granules one by one to the butterflies. Dong Yan, my makeup girl, gave up holidays and followed me around for all performances. Even the old Yang the janitor waited patiently for the end of my rehearsal every night no matter how late it would be. Before the final, Yin Xiaofang, then hospitalized, watched my rehearsal in a large and empty ward specially arranged for me in the hospital and gave me valuable tips. Their contributions made my winning possible.
Be My Own Accompanist
Singing an ancient poem in Yue tune was part of the contest, designed to display extra talent of a Yue opera artist. I decided to interpret the great Tang poet Li Bai’s Invitation to Wine. Li Yanhua coached me in singing, zither playing, and costume. I was pressed for time in rehearsing. I had never played zither in public and I found it hard to synchronize my singing and zither playing. I brought the zither to the dressing room and squeezed time to rehearse. Gradually, I was able to synchronize.
The moment I stood on the stage, my heart thumped. The tension got on my nerves. Then I saw Li Yanhua in the orchestra pit, her confidence filled me with strength. I performed well and the jurors gave me a score of 99.
(Translated by David)