月度归档： 2005 年 2 月

整理了一下《京剧丛刊》及《京剧汇编》的目录，决定对这两套书的编号进行如下分配：

《京剧丛刊》第一集到第五十集共计160出剧目，分配到76□□至77□□的编号。理由，改良过的剧本，有名家参与整理，可纳入7字头的名家剧本编号范围。

《京剧汇编》第一集到第一百零九集共计496出剧目，分配到65□□至69□□的编号。理由，未经改动的老戏剧本，虽包含一些名家的藏本、演出本，但仍是老本性质，可纳入6字头的老本编号范围。

目录虽然整理好了，但是还没有加入到总目中，因为需要再校对一下。另外，现在站上有的如全部《烛影计》、《鹦鹉洲》等等散碎的老剧本，很有可能是和《京剧汇编》中所收是一样的。一旦查实确是，就划入那里，避免重复。所谓散碎的，就是从其他书籍零散搜罗来的。

新春将至，这也应该算是一个新气象吧。

“如今的事儿大变迁”，真是奇闻：这小孩儿连中文都不懂，竟然能唱京剧！

汉语一句不会 唱京剧字正腔圆

美联社2月5日报道：泰勒·汤普森与邻家的9岁男孩没有多大差别。他喜欢打篮球，爱看漫画。

但是，泰勒有一项其他小伙伴不具备的才能：他会唱京剧。他不懂中文，但唱京剧时字正腔圆，听起来与土生土长的中国人没什么两样。

当地中国表演艺术基金会的主席戴维·雷说：“太令人震惊了。这个非洲裔的美国孩子正在学习一门甚至受到大多数中国人冷落或误解的艺术。”

雷去年在旧金山的亚洲艺术博物馆第一次看到了泰勒的表演。他说：“他的嗓音不错，唱腔相当准。”

泰勒很快成了加利福尼亚州北部地区最受欢迎的中国歌曲演唱者，在多个不同剧场演出。中国的中央电视台为他在圣何塞的演出录了像，并且将在中国农历新年期间播出。今天，泰勒还将作为特邀演员在旧金山交响乐团的年度中国新年音乐会上演出。他要在中国民乐的伴奏下演唱一首中国民歌。泰勒说：“我已经唱了这么久，所以要坚持下去。”

泰勒在林肯小学读书的时候开始学唱中国歌。这所小学坐落在奥克兰的唐人街，90％的学生是亚裔，其中大多数是劳动阶层的华人移民的子女。

这是美国少数几所开设中国音乐课程的公立学校之一。音乐课是教师谢林·丘10年前创办的。她教各种背景的孩子唱中文歌并演奏中国传统乐器。

丘说，早在泰勒上幼儿园的时候，她就注意到了这个孩子的才能和他“天使般的”音色。

泰勒的母亲瓦妮莎·拉森说，他一直喜欢音乐。刚刚学会说话不久，他就和父亲一起唱歌。无论母亲在家里放什么风格的音乐，他都能跟着唱。

泰勒不会说汉语，但丘通过拼写的方式教他和其他不会说汉语的孩子发音。丘说：“每个音节都清清楚楚。他的声调特别准。他不懂中文，但他明白歌曲的意思。他知道自己该向听众传达怎样的感情。”

泰勒在林肯小学的年度春季音乐会上首次登台亮相时，演唱了一首内蒙古民歌。丘说：“他唱得太好了，许多人感动得热泪盈眶。然后，我决定教他唱京剧。京剧的难度要大得多，但我觉得他已经准备好了。”泰勒说，用中文唱歌帮助他解决了人生中的一大难题。他说：“以前，我从不知道自己长大以后该干什么，可我现在知道了，我要当个中文歌手。”

看到这条新闻的第一反应就是：可能吗？赶紧查一下美联社的新闻，果然是真的。

Oakland 4th-grader performs ancient art
By TERENCE CHEAAssociated Press
Writer

OAKLAND, Calif. (AP) — Tyler Thompson isn’t much different from other fourth-graders in his Oakland neighborhood. He likes basketball and pro wrestling, cartoons and comic books.

But Tyler has a talent that sets him apart from his peers: He performs Chinese opera.

The 9-year-old, growing up in a city more notable for its tough streets than its touches of culture, is bringing crowds to their feet around the San Francisco Bay Area with his uncanny ability to sing in Mandarin Chinese. It’s a language he doesn’t speak but sings like a native.

“It’s shocking for the Chinese. Here’s an African-American kid learning an art form that even the Chinese for the most part rejected or misunderstood,” said David Lei, chairman of San Francisco’s Chinese Performing Arts Foundation.

He first saw Tyler perform last year at San Francisco’s Asian Art Museum.

“He had a good voice and was very accurate in his singing,” Lei said. “It wasn’t chop suey. It was the real thing.” Tyler quickly became one of Northern California’s most popular Chinese music performers, wowing audiences at Oakland City Hall, the Herbst Theater in San Francisco and HP Pavilion in San Jose.

The San Jose event was filmed by China Central Television, which will broadcast his performance during its annual Lunar New Year extravaganza, a program seen by hundreds of millions in China and elsewhere around the world.

On Saturday, Tyler will be a featured performer at the San Francisco Symphony’s annual Chinese New Year concert, just four days before the Year of the Rooster begins on Wednesday. He will sing a Chinese folk song accompanied by a Chinese instrument ensemble.

“Chinese singing has gotten me this far, so I’m going to stick with it,” Tyler said.

Tyler learned how to sing Chinese songs as a student at Lincoln Elementary, a public school in Oakland’s Chinatown where 90 percent of students are Asian, mostly children of working-class Chinese immigrants.

It’s one of the nation’s few public schools with a Chinese music program, started 10 years ago by teacher Sherlyn Chew, who was born in Oakland and attended Lincoln as a child.

She teaches students of all backgrounds to sing Chinese songs and play traditional Chinese instruments.

Tyler’s mother, Vanessa Ladson, said she chose Lincoln because of its high academic standards, as well as its proximity to her job at a utility company.

Tyler has always loved music, Ladson said. Not long after he learned to speak, he’d sing with his father when they drove together in his truck. He grew up singing whatever music his mom played at home, from gospel to jazz and R&B.

“Tyler lives to sing, period,” Ladson said.

Chew said she first recognized Tyler’s talent and his “angelic” voice when he was a spunky kindergartner.

“He had a very nice voice, he could sing in tune, his timing was good, and he picked up songs very quickly,” Chew said. “When I asked who would like to sing by themselves, he would be the first to raise his hand.”

Ladson was driving Tyler home from school one day when she first heard him sing in a different language. She couldn’t believe it, and asked him to sing the song three times.

“I went home and said to his father, `Do you know Tyler is singing in Chinese?'” Ladson said.

A few years ago, Tyler asked his mother if he could join a weekend music program Chew had started at Oakland’s Laney College. Its goal was to teach students who wanted to pursue their interest in playing Chinese instruments or singing Chinese songs.

Tyler doesn’t speak Mandarin, a tonal language in which the same word spoken with a different tone has a different meaning. But Chew taught him and other students who didn’t speak Chinese by spelling out the words and teaching them how to sing with the correct pronunciation and intonation.

“Each syllable is clear. His tones are very good,” Chew said.

“He doesn’t speak the language, but he knows the meaning of the song. He knows what he’s trying to convey to the audience.”

At Tyler’s first performance, during Lincoln’s annual spring concert, he sang a Mongolian folk song about a young man who misses his friend in winter.

“When the spring comes and the snow melts, I wonder if she will remember me?” Tyler sang in Chinese.

“He sang so well that people were moved to tears. Then I said I’m going to teach him Beijing opera,” Chew said. “It’s a lot more complicated, but I thought he was ready.”

Beijing opera, one of many forms of Chinese opera, is a centuries-old art form that blends highly stylized dancing, acting, acrobatics and pitched singing that Westerners might find jarring. Once a dominant form of art and entertainment in China, Chinese opera’s popularity has steadily declined.

“It’s dying because it takes so much effort to learn,” Lei said.

“This art form must grow on you. It’s an acquired taste. But once you acquire it, you really love it.”

Tyler said learning to sing in Chinese has helped him solve one of life’s biggest questions.

“Before, I never knew what I was going to be when I grew up,” he said. “But now I know what I’m going to be … a Chinese music singer.”

新华社的稿子中，将其中介绍京剧的部分省略掉了，大约是因为那部分是给不懂京剧的洋人看的，而如果读者是国人自然不需要了。但，那一部分恰恰是最需要引起国人关注的：“京剧，曾经一度是在中国占主导地位的艺术及娱乐形式，其流行度持续下滑。雷说，京剧之所以在灭亡是因为需要花很大功夫去学它。这种艺术形式一旦吸引了你，你将会非常喜爱它。”

不过，其中另一句足以让国人汗颜的话，还是被新华社的编辑们保留了：“太令人震惊了。这个非洲裔的美国孩子正在学习一门甚至受到大多数中国人冷落或误解的艺术。”

京剧，“受到大多数中国人冷落或误解的艺术”！多么可悲！再读一遍新闻，多么可叹！再读一遍，多么可笑！

一个问题：若真有一天，无数的洋人对传统戏赞不绝口，是不是那些所谓“顺应潮流”“与时俱进”的“新京剧”就会改回去了呢？如此，究竟谁是京剧真正的观众？

2002年仲夏的一晚，浅水龙在北京所宿旅店中对小豆子说，《戏考》的价值并不大，因为实在太老了，对于今人来说，没有什么用处。排戏不可能按照这上面的来。若可能，还是应该尽量找些实用的剧本。

某年某月某日，某人在网上询问某剧本，因戏考网站上的剧本太老，和现在的演法对不上。

2002年10月，小豆子意外找到1958年出版的《程砚秋演出剧本选集》，从此，名家的演出本陆续提上录入的计划。

2004年2月，痴菊叟向小豆子提出将《京剧丛刊》与《京剧汇编》两套书加入录入计划的事宜，当时因录入的范围已经很大（《戏考》四十册、《国剧大成》十二册以及众名家的剧本选集），兼之手头这两套书的资料并不齐全，虽心向往，却未将两套书的目录加入总目中。

转眼又一年过去了。痴菊叟发来了此两套书中的一些剧本，这是一个“痴菊”的戏迷，在二十年间辗转各处不辞辛苦所搜集来的。这种精神，多么值得敬佩！是该把这两套书加入录入计划的时候了。

先来看一下这两套书的介绍（摘自《中国京剧史》）：

《京剧丛刊》：本书是50年代进行的“戏改”工作的具体成果。其中所收的全部剧本都经过整理加工。

《京剧汇编》：本书与《京剧丛刊》不同，全部收录未经加工的传统剧目原本。

因此，《京剧汇编》的价值在于老、传统、没走样；而《京剧丛刊》的意义在于体现了解放初期戏改工作的一个成果，权且不论戏改的是非，单就文献角度来看，也是真实反映那个时期京剧界的一面镜子。

这两套书加上以前所提《传统剧目汇编》，可视为解放后出版的非常重要的三套剧本资料。较民国时期的《戏考》而言，应该是更有实用价值吧。

就眼前的录入工作来说，小豆子手头有《京剧丛刊》的前36集的全部内容，而《京剧汇编》则一本也没有。痴菊叟已录入《京剧丛刊》中四十余出剧目，《京剧汇编》中十余出。所以暂不太可能像《戏考》、《国剧大成》那样扩展成很大的录入群。但凡事需要定个目标：有那么长一个总目在那里挂着，就是一个激励人前进的标志；有那么一个“暂缺”字样在剧目后面，就是一个促使人寻找的指示。

下周一做一些整理，就把两套书的目录加入总目中。另外有一个编号问题，是继续加入7字头，还是放到6字头甚至1-5字头。也许会把近500出的《京剧汇编》剧本放入6字头，100余出的《京剧丛刊》剧本放入7字头。当然，若都放在7字头也能放下。另外，6字头、7字头的一些散本也许也要做些调整。

《京剧汇编》第一集

《罗成》叶盛兰饰罗成

今天戏考添加了《罗成》，是根据《叶盛兰与叶派小生艺术》中1946年演出实录所整理的。原书其中唱词有三处注释，阐明当年与现今演出之不同。皇兄据印象中的《罗成》单行本以及录音等，总结出更多的不同：

一、1946年实录：
江上渔人收了钓，
打柴樵夫下山林。
庵观寺院钟鼓响，
牧牛童儿转回家门。

二、叶后来的实况是：
江上渔翁收了钓，
放牛牧童转回家门。
那庵观寺院钟鼓响，
绣女房中掌银灯。

三、叶的静场录音是两句：
江上渔翁收了钓，
绣女房中掌银灯。

那本《罗成》单行本里，正文是一，附注里有二，解释大约是：这四句与战场气氛不符，但流传已久，保留其两句。

耳边厢又听得铜锣响震，

后来实况是：

耳边厢又听得金锣响亮。

二秦王他倒有爱将意，

《戏考》中作：

那反贼他倒有爱将意。（其实这句更合理，和下一句的三王爷……才有对比）原还以为是盛兰解放后改的，现在看来是早就改了。曾和刘松岩老请教这事，他说，他也唱那反贼……另还有许些不同，可能是更古老的。刘票小生，学自董维贤（师金仲仁）

挽马停蹄站城壕，本附注只说挽马后改作了勒马，其实录音还改作了，站城道。

好些不同：

勒马停蹄站城道，
银枪插在马鞍鞒，（又好象是金枪）
临阵上并无有文房四宝，
（白）拔宝剑，割白袍，（这里应该是念白，原书没这么写？）
修书长安。
银牙一咬中指破，
十指连心痛煞了人。
上写着罗成奏一本，
启奏秦王有道君：
尉迟恭在床前身染重病，
无人挂帅统雄兵。
三王元吉掌帅印，
命俺罗成做先行。
黄道日不叫臣出马，
黑煞之日出了兵；
从辰时杀到午时整，
午时又到夜黄昏。
连杀四门我的力已尽，
北门又遇小罗春。
此番若有好和歹，（大概是静场录音作，多多拜上秦叔宝）
三岁罗通你看承。
本当再写各公位，
袍短血干写不成。
一封血书忙修定，
儿到长安搬救兵。

对各版本之间的异同小豆子就不再考证了，只是发表一下看法：上面那叶派大段的唱词，“修书长安”一句，一直以来觉得别扭：前面是遥条辙，到这里只此一句忽然变成言前辙了，而接下去便人臣辙到底。记得在某处见过该段姜派唱词，此处为“修书皇朝”，既合理又合辙，但好像没有这“长安”流行。