明星聚《梁祝》彩蝶飞天下
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吴凤花、陈飞表演的《梁祝•楼台会》。 Wu Fenghua and Chen Fei in Butterfly Lovers
“碧草青青花盛开，彩蝶双双久徘徊……”
不久前的一个晚上，越剧明星版《梁山伯与祝英台》在位于拉萨的人民大会堂上演，自治区领导和千余名观众一同观看了演出。这是百年越剧首次走进雪域高原，也是明星版《梁祝》3年来全国巡演的最后一站。
这次巡演，剧组走遍国内80多个城市、演出200多场，观众20万人次，开创了单一剧种演遍全国的先河，是越剧发展史上的一个奇迹，实现了多代越剧人演遍全国的梦想。剧组还走出国门，应邀去法国、美国演出，让欧美人也感受了东方罗密欧与朱丽叶的美丽。
巡演期间，剧组还走进院校、敬老院、部队，深入地震灾区进行多种形式的慰问演出，得到广大观众的一致认可，并两次上了《新闻联播》，许多国家级媒体进行专题报道，央视11频道全剧录像在黄金时段播出。
越剧明星版《梁祝》是绍兴市演出有限公司开拓市场的一次创新，不仅打造了新的演出品牌，还为繁荣传统文化提供了新的思路。
资源整合 大胆创新
1906年，绍兴地区的嵊州乡下，在稻桶上铺几块门板而就的“戏台”上诞生了越剧。
2006年，步入“百岁”的越剧被列入了国家第一批非物质文化遗产名录。如何让越剧借此东风持续发展？绍兴市演出有限公司总经理裘建平，想出制作明星版《梁祝》的点子。
他说：“把众多越剧明星聚集在一起，演绎同一台经典名剧，就会产生强大的明星效应，从而吸引一大批观众。只有观众爱看，越剧才会有市场，才会繁荣。 ”
2008年，江浙沪闽等地十大越剧院团创排了越剧明星版《梁山伯与祝英台》。
明星版《梁祝》阵容十分强大，越剧当红演员可谓“一网打尽”：吴凤花、王君安、陈飞、李敏、陈雪萍、陈晓红、谢群英、赵志刚、方亚芬、萧雅、黄美菊、金静、孟柯娟、舒锦霞、陶琪、张小君、吴素英、徐铭、郑曼莉、孙伟娟……这些鼎鼎大名者都在明星版《梁祝》中穿插亮相，分别担纲主演。一台《梁祝》七场戏，几乎每一场“梁山伯”“祝英台”都不相同。
众名角均是各大流派的代表人物，范派、尹派、吕派、傅派、王派、徐派、袁派、金派、戚派、张派……像百花次第绽放，魅力独特。
藏族姑娘学习越剧经典动作。
Tibetan g xmove of Yueju Opera.
法国阿尔图瓦大学学生过把越剧戏瘾。
French college students enjoy a Yueju Opera play
不仅如此，明星版《梁祝》还在吸取老版本精华的基础上，对灯光、舞美、服装、道具等方面进行重新设计制作；在表现手法上，突出越剧抒情细腻之长；在音效上，小提琴协奏曲《梁祝》贯穿全剧，使舞台表现手段与剧情更融合。
整台戏美轮美奂。巡演过程中，许多观众连呼太美了、太美了；不少首次看越剧的青年观众说，想不到戏曲有这么美啊。
越剧老艺术家徐玉兰、王文娟、尹小芳、金采风、张桂凤等对该剧给予很高评价。他们说，明星版《梁祝》已成为展示中国越剧艺术、推广中国传统戏曲、发扬中国传统文化的最佳平台。
观众欣喜 明星艰辛
2008年6月8日，越剧明星版《梁祝》在第六届江浙沪越剧大展演开幕式上首次亮相，揭开了全国巡演的序幕。然后，江苏、山东、山西、内蒙古、宁夏、甘肃、青海、新疆……一路行进。
越剧明星版《梁祝》每到一地都反响强烈，引起轰动，经常出现一票难求的场面。湖南站演出，座无虚席，为满足一些观众需求，工作人员不得不拿出多年不用的加座椅子。在重庆站，有位姓孙的先生送父母来到现场。他说父母结婚四十年，一直想找一种方式庆贺，听说明星版《梁祝》要来重庆演出后，他赶紧为喜爱越剧的父母准备了戏票。
新疆观众马成虎是第一次看越剧，他说，舞台上江南秀丽气息始终吸引着自己，觉得实在太美了。在乌鲁木齐市做生意的浙江籍观众林忠说：“离开浙江十几年了，第一次在外地看家乡戏，让我回忆起儿时搬小板凳去戏院的场景。 ”在海口演出时，两个姑娘再三要求工作人员把她们领到后台去，只为一睹心中偶像。
沈婷是陕西安康越剧戏迷，她与几个伙伴乘坐大巴赶到西安机场接机。见到心仪的吴凤花、陈飞时，她激动得直掉眼泪。她说我痴迷越剧十多年了，还成立了一个业余小剧团，但我还是第一次亲眼看到自己喜欢的明星。
越剧明星版《梁祝》全国巡演，给大江南北的越剧粉丝带来欣喜，却让演员饱受旅途艰辛，不过，他们苦且幸福着。
两度获得梅花奖的绍兴小百花演员吴凤花，她带着只有两个月大的儿子和六十多岁的母亲，踏上了全国巡演的漫漫路途。从贵阳去桂林演出，坐大巴坐了十几个小时，那天下着雨，车颠簸得厉害。她说：“真的很辛苦。不过，再过五十年回首，我们在越剧史上有那么一笔，有什么比这个更有意义的呢？”
福建芳华越剧团艺术总监、梅花奖获得者李敏谈起巡演，说在演出最难忘。到了，大家有了高原发应，头痛欲裂。演出方怕大家扛不过去，事先录了音，演出时若实在唱不下去，就对口型。同时，台上台下都预备了氧气，还让大家服抗高原反应的药和高氧矿泉水。但演员们都将这次演出视作对自己的挑战，现场全部真唱。观众看得很认真很投入。李敏说：“能把越剧唱到‘世界屋脊’，这在越剧史上是首次，自己能参与其中，很值得自豪，也是自己越剧生涯中非常有意义的一件事。”
鲜花掌声 启迪振兴
越剧明星版巡演全国画上圆满句号，在鲜花和掌声中，带给我们许多启迪。
启迪一：振兴戏剧，策划很重要。绍兴市演出有限公司制作和全程推广明星版《梁祝》之前，就策划了江浙沪经典越剧展演，将全国一流越剧院团的经典越剧汇聚到绍兴集中展演，获得巨大成功，至今一年一度仍在坚持。这个大展演被评为全国十大戏剧盛事，而今更成全国一大戏剧品牌，每至展演之时，全国各地乃至香港地区的观众都会赶来观看。如果说，江浙沪经典越剧展演是将全国越剧优质资源“搬”到一个地方形成规模取得成功，那明星版《梁祝》是将全国越剧优质资源“搬”到一个经典剧目产生明星效应而赢得掌声。好的策划整合，能将存量资源作用发挥到极致。
启迪二：戏剧市场其实没人们想像的那么冷。当今的越剧如同电影，一般化的节目看的人不多，但大片式的节目还是受众人欢迎的。明星版《梁祝》巡演，八成是靠“卖”出去的，还有二成是交流性质和自己掏钱做宣传的。许多从未演过越剧的地方，情况也比想像的好。比如拉萨演出后，方面意欲请绍兴市演出有限公司排一个题材的越剧，由他们投资。现在全国各地乃至港澳台及海外华人聚居的国家，“同唱一台戏”越剧明星版《梁祝》具有很高知名度，来邀请他们去演出的非常之多。
启迪三：振兴越剧需要不畏艰难，乐于奉献的一批人。绍兴市演出有限公司其实是一家小公司，他们集全国越剧明星制作一台戏，难度可想而知。但该公司勇敢地做了，且做得非常精彩。参与的院团和演员也个个可圈可点。因为演员涉及十个大院团，往往演出档期会有冲突，凡遇此种情况，各
By Jin Aosheng
The last performance of a national road show of classic Yueju
Opera play “Butterfly Lovers” took place in Lhasa on August 21,
2011, bringing to a glorious end the 200-plus performances of the grand three-year tour in nearly 100 cities across China.
明星版《梁祝》走进青川
Yueju Opera stars meet the public at Qingchuan, a region in Sichuan heavily de-stroyed by an earthquake in 2008.
王君安、李敏表演的《梁祝•十八相送》。
Wang Jun’an and Li Min in Butterfly Lovers
个院团都会支持《梁祝》巡演。演员也从不计较经济得失。巡演时，不少人一人身兼数职，从不言苦。他们之所以乐于奉献，其实是出于一种使命感、神圣感，大家都有一个信念，彼此都是越剧人，弘扬越剧是共同追求，越剧在全国的知名度提高了，大家的事业才能做得更好。
（本文图片由作者提供）
The play was considered an extravagance for a few reasons. It
was first conceived in 2006 to celebrate the birth centenary of Yueju
Opera in Shengxian County. The start of the grassroots opera enter-
tainment in 1906 was nondescript and obscure, but it soon became popular with local villagers. Troupes appeared and came to Shanghai, where the regional opera genre
matured and flourished. In 2006, the 100-year-old
Yueju Opera was inscribed as a national cultural heritage. Promoters at Shaoxing Performance Company conceived the idea of producing an all-
star “Butterfly Lovers,” the most famous and most
performed in the classic Yueju Opera repertoire.
“Butterfly Lovers” is widely regarded as a Chinese
version of Romeo and Juliet.
In 2008, more than 20 star artists gathered to pro-duce a new performance. They are from ten Yueju Opera troupes of Zhejiang, Jiangsu, Shanghai and Fujian, the four Yueju Opera strongholds that boast the largest audience bases of the genre in China. All
these artists are stars of national renown repre-senting more than 10 dif-ferent schools that formed and matured in the golden years of the young opera in Shanghai. Moreover, the choreography was restyled, costumes and stage sets redesigned, music re-orchestrated. The result was a dazzlingly beautiful per-formance.
The all-star play made its debut on 8 June 2008 at the opening ceremony of the sixth Yueju Opera Festival of Zhejiang and Shang-hai, marking the beginning of the national tour. The troupe moved
northward first and then westward. Each show starred a different
Romeo and Juliet and each show was a huge sensation. Theaters sold tickets for the standing room section. For fans in provinces far away from Yueju Opera strongholds, such a performance was a lifetime opportunity to see stars in person. For many with their an-cestral roots in eastern China, watching a show by artists from their home province was like paying a long overdue visit to home. Some people even bought tickets as gifts for anniversaries.
For some young audience members who had never seen a Yueju Opera play, watching a performance by these stars was like at-tending a lovely lecture in visual and audio aesthetics. The old-generation Yueju Opera stars, now retired and in their golden years, spoke highly of the all-star extravagance. They agreed that the new play represented the best of Yueju Opera and served as a prototype for Chinese theater.
The stars themselves felt both happy about the opportunity to bring the best of Yueju Opera to the national audience, but they felt the hardship of the long journeys across the country. The troupe traveled by bus for 17 hours to reach Guiyang from Guilin. The bumpy road was a torture on a rainy day. Tibet was a special chal-lenge. Most artists suffered from altitude disease. They took pre-
吴凤花、吴素英表演的《梁祝•草桥结拜》。 Wu Fenghua and Wu Suying in Butterfly Lovers
vention pills and drank bottled oxygen water. Oxygen was stocked backstage for emergency.
The success of the all-star show has made people pause to rethink the performance market and promotion strategy.
Shaoxing Performance Company, a small show business based in Shaoxing, is the producer behind the huge success of Yueju Opera Festival in Shaoxing, which is 10 years old now. The annual gala attracts loyal fans from all over the country. The business shows the importance of using the resources available and producing a best show.
Another revelation from the phenomenal success of the grand show is that the performance market is not as sluggish as previously considered. Ordinary performances cannot compete with television dramas and films, but all-star shows still allure audiences. The road shows were profitable and the market responses in cities where audiences had never seen any Yueju Opera play before were unex-pectedly good. Invitations for more shows of the all-star play are coming in, some from overseas Chinese communities.
The last revelation about the prosperity of performance market is of course hard work. Shaoxing Performance Company worked hard to bring all the artists together. The stars were from ten big troupes and each troupe had its performance schedules. To coordinate all these schedules was a big test of the small show business’ capabil-ity. The troupes supported the promoter’s idea: troupes get bigger markets shares and stars get bigger followings only if audiences come to watch Yueju Opera shows.