開闢一條連結傳統與現代的路

--- 專訪「國光劇團」藝術總監 王安祁教授

採訪記者：高二3 蔡宛蓉 高二2 彭靖云

這是一個微涼的早晨，我們採訪小組一行四人隨同老師來到了清華大學對面的星巴克咖啡，正遲疑著要先點些飲料或是上樓等待時，就在樓梯間遇見了我們今天的受訪者──王安祈教授。

一不小心，我們的咖啡錢就給教授付了去！初次相見，王教授與我們心中的形象幾乎完全吻合：具中國藝術美感的服裝、親切典雅的容貌，話語間更有媽媽般的溫柔。不禁感到，這就是投入於戲劇的工作者所具有的獨特氣質吧！在音樂聲和咖啡香裡，我們開始了今天的採訪。

首先問起王教授，從何時開始接觸京劇並產生興趣的呢？意外的，這問題對王教授來說簡直是「理所當然」，因為「其實根本就是媽媽的『胎教』。」王教授出生於民國四十四年的台灣，那是個電視還不普遍的年代；當時的京劇等同於流行音樂，轉開收音機聽京劇，就是家家戶戶的休閒娛樂。王教授的母親也是個京劇迷，耳濡目染，也是順理成章之下，從小王教授就對京劇擁有熱誠和喜愛。教授也靦腆的說，她是家裡的獨生女，但其實曾有一位姊姊生病夭折了，所以從小很受母親的保護，鮮少和外人接觸，個性也顯得有些膽小、內向，間接的，京劇這個興趣也變得單一而專注。

學生時期的王教授，除了唸書就是看戲！小學時黃梅調正當紅，因為它和京劇很是相似，王教授也喜歡看，平時與同學們也就有話題可聊，過得還算開心；但是初中以後，西洋的流行逐漸傳入，同學們的興趣多轉變成西洋音樂，和王教授之間就有了一層隔閡；雖然不深，但中學時的王教授卻就已感知她與朋友之間終有一些不同的文化背景，不能徹底的互相了解，也就從心中油然升起些寂寞之情。這種背景，大概就是讓教授成為一位情感細膩、「懂得」寂寞為何的劇作家的最深層基礎吧！教授笑著說：「所以我不鼓勵我的孩子喜歡京劇，那真的孤獨了些！」

京劇使教授的人生有了什麼改變？教授很肯定的說道：「它決定了我人生的方向。」從初中就已經立定了考中文系的志向，為的就是要追尋京劇的源頭，並徹底了解京劇的歷史淵源。至於，開始投入戲曲工作事業後，又對自己產生了什麼影響呢？教授又露出「受不了」的可愛神情，「得逼使自己個性開放一些！強迫自己不要緊張！」教授說，要面對上台領獎、發表感言、開記者會等活動，對以前的自己簡直是不可思議！例如第一次參加劇團的記者會，教授得事先把待會兒要講的話給一字一句的寫下來才安心，而且還得帶小抄上陣，說話也會顫抖……但這些事對身為「國光劇團藝術總監」這個職位而言是無可避免的，也因此就在一次一次壓力中讓自己歷練得大方、穩健起來，「雖然還是想保有單純的生活，但是藉這份工作能夠認識更多人、擴大自己的人生，也覺得很好。」的確如此，採訪之間我們覺得教授一點也不像是很害羞的人，反而娓娓道來、字字徐緩而清晰，講起故事來生動精采呢！

平常，教授的生活就只有簡單的三件事──教書、研究、編劇。那休閒時間呢？教授笑著告訴我們，因為平時的工作內容都圍繞在京劇上，也就是自己最喜歡的事，因此根本不需要額外的休閒活動！「工作就是休閒，休閒就是工作」，自然研究時也比別人愉快、一點也不辛苦，生活過得很充實。這一段聽得我們羨慕不已：若以後也能擁有這麼美好的生活就好了！「喜歡自己的工作是很重要的。」教授語重心長的告訴我們。

王教授可以說是台灣新編京劇的先驅，開闢一條連結傳統與現代的路，想必過程中碰到許多困難。「最困難的點在於尋找題材！」王教授說。現在的劇本，不能只在傳統的教忠教孝、或空靈淡雅上打轉，必須能引發觀眾的個人情感，才能激盪出和以往不同的火花。在決定題材的過程中，勁爆和安全之間的界線也是很難劃定：過於辛辣的的故事，會掩蓋京劇傳統的美感；但故事太保守卻又無法吸引年輕人的目光。王教授以近兩年來指導編著的劇本為例：2005年的新編京劇「三個人兒兩盞燈」便嘗試著墨於皇帝後宮中，兩宮女的孤寂逐漸轉化成同性戀情的過程，題材十分創新，是一部情感精緻細膩的京劇；而2006年的「金鎖記」則以張愛玲的作品為橋樑，打開京劇和現代人溝通的大門。 「一旦找到適合的題材，不能讓它只變成噱頭，要將它發展得生動且有深度！」王教授說。而我們也記得，在觀賞完「三個人兒兩盞燈」一劇之後，真正體會到了王教授的用心：好的故事配上好的詮釋，就像是一杯調得剛好的咖啡，溫潤順口極了！

不只是劇本題材的創新，新編京劇在表演上也針對現代觀眾的欣賞品味做了調整。有鑑於現代人對古典詩詞和戲曲唱腔的了解越來越淺，能單憑耳朵聆聽便理解唱詞的觀眾更是越來越少，因此現在即使是買票到戲院現場看戲，也能靠著舞台旁大螢幕上隨著劇情發展清楚打出的字幕，而跟得上唱腔、聽得懂唱詞。而現代社會快步調的特質，也使國劇為了跟上時代的節奏而盡可能的使唱腔變短，讓劇情發展緊湊。在王教授家有一個活體試驗機---王教授的兒子，也就是去年畢業於實中的邵書珩學長，「透過兒子的反應，更可以掌握年輕人的美學趣味！」王教授開心的說。

面臨京劇的轉型，對其本質的掌握其實是相當關鍵的。教授對於一定要保留的京劇特質有很清楚的堅持：「主要是唱腔、唱詞、身段以及其表演時的各種象徵意味。」京劇的唱腔是獨一無二的，這種獨特的抑揚頓挫配上曼妙的身段，載歌載舞的精神正是京劇的核心。「唱詞也是很重要的！要能呈現古典詩詞的美感，如果是大白話，遺憾可就大了！」另外一項奧妙的藝術便是身段了。教授短時間也解釋不清楚，「練過京劇的人一站出來，姿態、眼神就和別人不一樣……」雖然這個解釋有點籠統，但透過教授的手舞足蹈、語調和架勢十足的臉部表情，我們似乎也感受到那麼一點不同。教授說，正因為身段、唱詞的象徵意味都很濃厚，佈景和動作也要是象徵性的。這是不是所謂的朦朧之美呢？

新編京劇為了符合現代潮流，本質上做了許多改變，但畢竟這還是一門歷史悠久的藝術，有些七十歲以上的舊派觀眾，對京劇新編的走向十分不諒解，認為這群人把京劇糟蹋得體無完膚。「絕對不能走回傳統的路，一定是死胡同一條！」王教授堅定的說。 面對這些來自傳統觀眾的壓力，和引進現代年輕活力的兩難，劇團的解決之道便是將新劇和主題式傳統劇參雜演出。所謂主題式傳統劇就是配合時事主題，挑選演出傳統劇碼，利用時事的新鮮感吸引現代人的目光，而將傳統劇也與現代生活連結。「去年政壇風波不斷的期間」，教授靦腆的笑著表示，「劇團也應景演出了以『古代宮闈』為題的傳統劇碼呢!」

雲門舞集帶著台灣走入國際，新編京劇是否有機會跨足全球？王教授笑了笑「京劇中任何一段中國武術就可以輕易征服西方人的心！」的確，中國武功一直深為老外所崇拜，因此劇團到國外演出經常不是演「西遊記」、「精忠報國」就是演出改編自西方劇的劇碼。然而將中西兩種迥然不同的文化結合在一起，衝突點也還真不少。例如「王子復仇記」中，「在禱告時被殺的人，會上天堂」這個橋段在改編時就不知道如何表達，畢竟中華文化中並沒有這種思想，最後只好簡略帶過；而「馬克白」的改編版本就容易多了，因為「篡位會受到惡報」是一個中外皆然的價值觀；而當西方人看到舞台上的武生從四張桌子的高度跳下來以象徵自殺時，全場近乎陷入瘋狂，這畫面立刻在西方人心中留下深刻印象！但是對於京劇要在西方有長足的發展，教授並不樂觀，「不懂中國文化及文字的西方人，很難了解古典詩詞的美，而這種美感有時很難透過翻譯呈現。」到頭來，文化和文化之間的落差，還真是很難單用語言來連結！

時間滴答滴答的走，這番輕鬆生動的談話也已經進行了一個半小時，訪問逐漸進入尾聲。 「未來京劇的競爭不只是在各劇團和劇團之間，而更是要聯合向外，與西洋電影、音樂相抗衡！」王教授期許，未來京劇可以成為年輕人休閒活動的一個選項，「並不期望大家都懂得或者喜歡京劇，只求京劇能成為休閒的考慮之一！」走出星巴克咖啡，大家整整衣裳，帶著紅通通的臉頰，再次踏入早春微涼的空氣中，耳邊還迴響著王教授最後的鼓勵與叮嚀，「歡迎年輕一代的朋友到戲院看看，現在的京劇長什麼樣子！」

Professor Wang An-Chi

– An Avant-Garde Beijing Opera Scriptwriter

                                 - By 11A Andrew Tarn and Rebecca Kwee

When most people hear about Beijing Opera, the adjectives “innovative” and “modern” probably do not appear in their minds. Beijing Opera is usually associated with the words “traditional” and “classical,” belonging to an older era. However, Professor Wang An-Chi, the Art Director of the National Guoguang Opera Company and a Chinese professor at Tsing-hua University has taken Beijing Opera out of the old and into the new – bringing it closer to younger generations.

The Beginning of a Passion

        Professor Wang believes that her interest in Beijing Opera began when she was still in her mother's womb. Her mother, while pregnant, listened to Beijing Opera on the radio. “Back then Beijing Opera was like today's pop music,” remarked Professor Wang. Though her enthusiasm for opera brought her much enjoyment, Professor Wang's childhood friends were not able to experience the joys of Beijing Opera as she did. Professor Wang talked about herself being a shy and introverted child who did not share the same interest as her peers. During her years as a student, Ms. Wang's friends only listened to western pop. She found it even more difficult to interact with the boys, as they liked watching 007 movies instead of opera. These experiences, combined with the fact that she was an only child, shaped Professor Wang's future works. The theme of “loneliness” can be constantly seen in her operas, a result of her unforgettable childhood.

Steps and Stages in Professor Wang’s Career

        The day after her PhD interview, Ms. Wang received a visit from a then famous Beijing Opera actress, Guo Xiao-Zhuang. Guo had asked Professor Wang to write a different type of opera script, one that appealed to high school and college students. The opera that Professor Wang had created turned out to be a great success and attracted young people, and even her friends started to discuss Beijing Opera with her. Professor Wang states that her life at that time became livelier and less lonesome, as people became interested and began to understand her work. After becoming the Art Director of the National Guoguang Art Company in 2001, Ms. Wang felt that she had grasped the technique of scriptwriting, but still faced certain difficulties when trying to reach out to a younger crowd.

Difficulties When Writing

        For Professor Wang, her goal in scriptwriting is to create operas that appeal to the younger generation while maintaining depth, literature value and the aesthetic quality of traditional operas. An example of this is her script adapted from one of Chang Ai-ling's novels, a piece of work that has attracted a young audience but still retained a literary depth. When Professor Wang's son initially heard about the new opera, he was uninterested in it. However, when his friends in college started talking about it after watching the opera, he himself went and enjoyed it. Celebrating the success in reaching out to the younger generation, Ms. Wang still finds it difficult to find materials for her opera that suit the criteria of appeal and value.

Settling Between The Old And The New

        As her new scripts started attracting the younger crowds, Ms. Wang also faced a tough time when dealing with the disgruntled older generation. “These seventy to eighty year olds are mainly nostalgic for the old plays, and they watch the operas mostly for listening to familiar lyrics and recalling past memories,” comments Ms. Wang. Believing that Beijing Opera can only move forward to a newer, creative form, she solved the problem ingeniously by mixing a few older plays into the performance schedule. There are certain qualities of the traditional opera that, however, according to Professor Wang, should be preserved: the style of the actress's singing, the poetic lines of the actors, and their professional poises, as they are the essence of the beauty of the performance.

Interaction With The Actors

        Ms. Wang enjoys working with new people, including students, actors, and directors. In 2005, a graduate student of hers, Chao Shyue-Jun, wrote a play that was fresh and innovative. However, Chao lacked the training in classic literature and found it challenging to turn the play into a Beijing Opera. To help write the play without any distortion of its original meaning, Professor Wang had to “step into Chao's shoes,” allowing herself to completely understand what feeling Chao was trying to convey, and thus jointly they accomplished the 2005 marvelous innovative play of “Three People Under Two Lamps” with a theme of loneliness. Discussing with the actresses for putting the play on stage, Professor Wang lead them to locate and express their own feeling of loneliness inside. They came to understand one another better and the play turned out successfully.

Life-Changing Career

        “My work is my leisure time, my leisure time is when I'm at work,” responds Ms Wang when asked how she felt about her job as a professor, scriptwriter, and art director. For Professor Wang, teaching, researching, and scriptwriting are all enjoyable and satisfying parts of her life. “Some people may look at their watch and sigh at the sluggishness of time during work, I look at my watch and sigh at how fast time passes at work,” says Ms. Wang. Vacations are unnecessary for Professor Wang, for that's how she feels everyday at work.  

        Beijing Opera has opened up Professor Wang to people. The interaction with actors, the media and the administrative work at the Opera Company have transformed Professor Wang into a less nervous and more extroverted person. Ms. Wang recalls with a smile when a friend emailed her after a press conference and asked how she was able to “talk so well.” Beijing Opera has changed her personality, and her life.

Final Words

        Wrapping up, Professor Wang states that she would never want to act on stage, on the account of being too nervous. However, she encourages people to watch more Beijing Opera, as everybody needs stories of others to expand their horizons. “As a child, we listened to stories. Now, people watch movies for stories,” comments Professor Wang. For the future, she hopes for Beijing Opera to make its way into everyone's daily lives, providing another option besides movies or sports for a popular leisure activity.

To students, Ms Wang has a particular message to pass on: “Anyone can write scripts for Beijing Opera as long as they know how to tell a story.”

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