《临川梦影》别有情
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在春风送暖的春天，浙江昆剧团新排昆剧《临川梦影》，在梦幻般的诗意江南惊艳登场：
号称精华版《临川四梦》的《临川梦影》，在浙江胜利剧院首次公演，受到戏迷观众热情追捧。浙江大学的精英戏迷团有不少是教授、博士、外教，早早地来到剧院，等候开演；各路戏剧界专家、艺术家纷纷前来，评头品足，啧啧称赞，惊呼“好戏！好戏！”；剧院里的人说，很久没有出现上演传统戏剧时如此火爆的情景了……
如此盛况，让团长兼导演林为林激动不已。
“一夜四梦”真精华
经典不朽之作，总会引起人们的情感共鸣。明代伟大的文学家、戏剧家汤显祖的巨作《临川四梦》就是其中的典型代表。
常言道“浓缩的才是精华”。台湾白先勇先生搞青春版《牡丹亭》时，把55出3个晚上的原版，压缩成一台戏。这次浙昆推出“精华版”《临川梦影》，并非简单“压缩”而已。这《临川四梦》的全版足本，共有182出戏，上海昆剧团曾排过5本的《临川四梦》，观众要花5个晚上才能看完。在现代快节奏的都市生活中，这无疑有点拖沓。如何把4个故事浓缩在两小时，让观众一晚看完四梦？林为林把创排《临川四梦》这个20多年来的梦想，与这个四梦合一的“梦影”结合起来，选取四梦精华，如第一梦《紫钗记》的“折柳阳关”一折“梦影”，第二梦《牡丹亭》常演不衰的“惊梦”、“寻梦”……精选的“四梦”折子如何串联？林为林别出心裁，增加了作者汤显祖本人作为核心人物来串场，并由国家一级演员、浙昆副团长程伟兵领衔主演。
林为林在选取精华折子、重组合成时，兼顾角色分配上各有侧重，《紫钗记》《牡丹亭》侧重生旦戏、文戏为主，《南柯记》侧重武生戏，《邯郸记》侧重老生戏，这样“文武双全”，老少同台，生旦竞美，充分展现昆剧艺术的无穷魅力。这样的浓缩，不同于“机械压缩”，也不是“等比缩放”，而是各自选取“四梦”精华，重新有机组合，原有四梦组合成新的梦；新梦看似一梦，其实仍有四梦在。这样的精华，无疑是精华中的精华！于是，一出新戏――精华版《临川梦影》诞生了。
素有“昆剧界第一武生”之称、名满天下的“江南一条腿”林为林，曾两度获得中国戏剧“梅花奖”，身为国家级非物质文化遗产项目代表性传承人，20年来最沉迷的便是汤显祖和他的经典名著《临川四梦》。如今，他的梦终于圆了。“其实，《紫钗记》说的是侠，《牡丹亭》说的是情，《南柯记》说的是佛，《邯郸记》说的是仙。”这是他导演“梦影”后的心得。
梦中有梦“蒙太奇”
把原著作者汤显祖这个人物，以四梦折子戏之间“串场”的角色入戏，作为整台戏的一根红线，起到了引导观众和贯穿全戏的灵魂作用，这是浙昆这台新戏在昆剧艺术表演样式上的最大亮点。戏中有戏，梦中有梦，原著编剧与剧中角色，演员与原著编剧，演员与戏中角色，在同一时空场景中如梦似幻地组合、交替、展现在一起。
借用电影蒙太奇手法，让人物和时空在舞台上交错，使原著者创作“四梦”时的梦中内心所思所想，与舞台角色演员的当下表演，交织在既定的情景中。画外音式的念白，也起到了画龙点睛的作用。虽然这样的手法，并非是林为林首次试用，但对传统戏剧的表演来说，绝对是一个大胆的尝试。这样的手法可以帮助观众理解演员表演的角色的特定性格，较快地进入到戏的情境中去，也起到“提醒”的作用。
林为林说：“我们这台戏充分尊重原著，不做大的修改，舞美设计说到底是为表演、情节服务，为人物、为内容服务，再怎么变，也不能脱离这个宗旨。这台戏的舞美设计很简约，只是四个曲牌的屏风，在变换组合中起到标题招牌的作用。而昆剧艺术的精华――唱腔词曲、身段功夫，这些昆剧艺术本质和风格的东西不能变，不仅要继承传统，还要强化传统。”在舞美灯光上，这台戏基本是传统的屏风桌椅，没有多余的奢华的声光电高科技的东西，让人感觉似曾相识，朴素淡雅、简约庄重的舞美风格，保留了昆剧艺术原汁原味的形式美。
“梦回故里”传至情
今年是“东方莎士比亚”――汤显祖诞辰460周年。在他当年任知县的遂昌县，“汤显祖文化・劝农节”应时举办。浙江昆剧团带着《临川梦影》，也“梦回故里”，在遂昌举办了盛大的“省亲”活动。用林为林的话来说，就是“寻根访祖”来了！
明万历二十一年至二十六年，汤显祖任遂昌知县，勤政爱民，兴教办学，劝农耕作，政绩显著。而让他与遂昌结下千古情缘的，是他在这里完成了不朽之作《牡丹亭》。
汤显祖在明末“灭才情而尊吏法”的礼法社会，高扬“情至”大旗，倡导“天地之性人为贵”，一生坎坷，探索生命情感的价值和人生的意义，留下了彪炳千秋的《临川四梦》，影响深远。30岁时，他创作了第一梦《紫钗记》，讲述了霍小玉与书生李益喜结良缘，被卢太尉设局陷害，黄衫侠客从中帮助，终于消除误会的幻梦；49岁时，他创作了第二梦《牡丹亭》，描写了久居深闺的杜丽娘因梦生情、伤情而死，人鬼相恋，起死回生，终于与柳梦梅永结同心的痴情；51岁时，他创作第三梦《南柯记》，被称为“人生秋天的失落之梦”，讲述了书生淳于棼梦中做大槐安国驸马，任南柯太守，一度飞黄腾达，但因妻子身亡，空虚无度，终因秽声四起而被逐出宫门，梦醒后皈依佛门的故事；52岁时，他创作第四梦《邯郸记》，讲述卢生梦中娶妻，又中状元，建功勋于朝廷，后遭陷害被放逐，再度返朝做宰相，享尽荣华富贵，死后醒来，方知是一场黄粱梦，因此而悟道的故事。四梦寓意，道尽人生如梦，惟有情至真的人性真谛。
遂昌古城，古朴雅致的汤显祖纪念馆，春雨过后，在名叫“姹紫嫣红”的戏台，一副“良辰美景奈何天，赏心乐事谁家院”的对联，正出自《牡丹亭》的故事；回廊灯红，细雨如歌，“则为你如花美眷，似水流年……”的词儿，悠扬婉转地响起。古朴的戏台，无需灯光，没有乐队，就凭玉笛一支，“杜丽娘”和“柳梦梅”便顾盼传情。观众赞美之余，纷纷要求演员们签名和合影留念。
“梦之情至性，别之离情真，趣之味生形，觅之境随心。”这次浙昆新推《临川梦影》，全团上下，倾力献演。除了导演林为林、主演程卫兵，胡娉饰霍小玉，曾杰饰李益，杨昆饰杜丽娘，毛文霞饰柳梦梅，项卫东饰淳于棼，白云饰瑶芳公主，胡立楠饰檀萝太子，鲍晨饰卢生，整台戏清一色由靓丽的青年演员担纲，闪亮登场，熠熠生辉。至于唱腔、服装、造型、道具、乐队、舞美、武打等设计团队，总人数有60多人，可谓倾情献演，倾力打造，满台生旦，风华无限。
New Kunqu Gala Honors Four Dreams of Linchuan
By Ah Cheng
To celebrate the 460th anniversary of the birthday of Tang Xianzu (1550-1616), the Zhejiang Kunqu Opera Troupe launched a performance that condenses the four masterpieces of the great playwright into one in 2010. Tang actually wrote five: “The Purple Flute”, “The Purple Hairpin”, “The Peony Pavilion”, “Record of Handan”, and “Record of Southern Bough”. The new play integrates the last four into a gala show. It was a twofold challenge for Lin Weilin, chief executive of the troupe.
Lin himself is a kongfu actor with a 20-year career in Kunqu opera and has won two Plum Flower Awards, China’s Oscar Awards for best performance of theater artists. But the new performance was his first challenge as a director’s debut. No sooner had he completed his two-year director course at Shanghai Theater Academy than he tried to integrate the four plays into one grand show. The four masterpieces are traditionally called “Four Dreams of Linchuan” collectively for each presents a dream as a key factor for plot development and traditionally the four dreams run through 182 scenes. Shanghai Kunqu Opera Troupe once staged a complete show of the four dreams and it ran five consecutive evenings. When Kenneth Pai (Bai Xianyong) from Taiwan launched his youth version of “The Peony Pavilion”, he condensed all of the 55 scenes through three evenings into a one evening glory.
Lin knew five evenings was definitely out of the question. He needed something compact and good enough to attract audiences and yet retain the best of the four masterpieces. His solution was to select the dream scenes from the four plays and added a character that the four plays do not have: Tang Xianzu himself. The playwright acts as a narrator on the stage and puts the four separate stories together. The result is a two-hour show that glorifies Kunqu and pays homage to the playwright.
The combination of the four required a lot of thinking. Lin highlighted the beauty of each play: “The Purple Hairpin” and “The Peony Pavilion” are romances that give young performers a gold opportunity to show off their singing excellence. “Record of Southern Bough” gives the kongfu players the best time whereas “Record of Handan” needs a good actor, young or otherwise, to show how he acts out a bearded mid-aged or older man. The combination thus avoids looking like a mechanical integration of the four dreams. The four dreams come together like montages.
And the new play is a good experiment for the genre to seek a way to retain its original charm and yet cultivate a healthy growth for future. Lin holds fast to this principle for a reason: nowadays many traditional operas are adding trendy touches for performance, a practice disapproved of by many traditionalists. They contend that too much attention to garish lighting, dazzling costumes, complicated sets and stage art designs can only distract audience and weaken the true and original beauty of operas. According to Lin, what counts in any opera play is performers’ quality and their performance that can yields only from many years of hard and solid training. To avoid emphasizing superfluous points, Lin says he had high respect for the original scripts and made few changes. The stage design is most simple: only four screens and a basic set of one table and two chairs. No high-tech gadgets at all.
The new play made its public debut on March 25, 2010 in Suichang. In order to honor the playwright who served as magistrate in Suichang, a county in southern Zhejiang, and wrote “The Peony Pavilion” during his six-year tenure there, Zhejiang Kunqu Opera Troupe traveled from Hangzhou to the county and premiered the play there. The audience in the county was thrilled.
On April 1, 2010, the play made its first Hangzhou appearance at Victory Theater, attracting a galaxy of experts and critics, celebrities, and enthusiasts from higher education circles including a group of professors, foreign guest teachers and doctoral students.
Zhejiang Kunqu Opera Troupe committed a full range of resources to ensure the success of the play. More than 60 artists participated. Cheng Weibing acted as Tang Xianzu. All the other characters were performed by young artists. All the arias were composed by Zhou Xuehua, a preeminent composer with Shanghai Kunqu Opera Troupe; the scripts were edited by Zhou Shiduan from a family of Kunqu Opera masters and now a director with the Zhejiang Kunqu Opera Troupe.