《 人 物 專 訪 》   ▲ 京劇國 寶  ---  魏海 敏      ▲  Opera: A Journey for the Committed

“創新─是對新時代觀眾的責任”

◎高二三班 胡品圭

想必高年級的同學都對三月的那次相會印象深刻吧！記得那天下午，魏海敏女士抹著艷紅的胭脂和脣膏出現在我們的面前，在短短的兩個小時之內與我們說著京劇的精華，並現場示範著裝及片段演出。京劇在同學的印象中或許是件過時的事，然而經過一番認識，我們赫然發現，它其實真的是一種融合中國文化傳統與現代表演藝術的珍貴資產。

細弦般的嗓音，輕盈的步伐，柔軟的身段，再加上那雙表情豐富的眼眸，魏女士用她紮實的京劇底子與炙熱的舞台魅力，震懾住所有觀眾，讓人為之瘋狂。但在絢爛演出的背後，數十年來的辛苦卻鮮為人知。所以這一次我們專程到魏女士台北的辦公處所進行訪問，希望能將她的學習經過與生活經驗分享給大家。訪問內容整理摘要如下。

家庭與劇校生活

魏女士的父母在她很小的時候便離異，父親隻身照顧她和姊姊，生活相當辛苦；幼年的魏海敏，是個活力十足的小孩，整天又是溜冰、又是跳舞和游泳。有趣的是，魏女士的父親平日就喜歡哼哼唱唱，在當時也是一種流行，有一次巧見一張小小的〝小海光〞招生簡章，父親考量家庭狀況與女兒的興趣後，毅然決然地將她送進訓練出了名嚴格的〝小海光劇校〞，開啟了魏海敏女士的京劇大門。

魏女士原本抱著好玩的心理，進了劇校才發覺並不是這麼回事，劇校內的訓練相當嚴格，並採用軍事化的管理，老師一個口令，學生一個動作。每天白天練基本功，晚上還得上一般學科的課，生活緊湊地連喘口氣的時間都沒有，許多同學都被這樣的情形給打倒了，少有聰明如魏海敏的，領悟力強
、學戲快，因此深得老師喜愛，相較於其他同學，她的機會多多了，「兒時豐富的舞台經驗對日後的表演是有相當的幫助的」，魏女士說。有句話說的好，「師父領進門，修行在個人」──天賦與掌握訣竅是成功的兩大要點，這完全可以在年幼的魏海敏身上得到印證。

十二歲那一年，魏海敏演出了生平第一部正戲，她的父親心中充滿了驕傲與欣慰，但就在兩年後
，最愛的父親突然去世，永遠的離開她了……。

畢業後的日子

海光的制度是七年習滿後，還需花兩年的時間在劇團中實習，方能畢業。「許多人在畢業之後選擇繼續進修，然而當時的我，並不清楚自己該做什麼，亦不知走這一條路的好壞和風險，內心相當徬徨，多半是因為太年輕的緣故吧！」就因此，魏女士曾嘗試在電影、電視劇還有廣告中演出，但一陣子以後，她深覺自己是浪費時間在不喜歡的事情上面，這麼做並沒有將她多年所學充分發揮，而且缺乏成就感。

不久，魏女士結婚了，她說「結了婚以後，我反而定下心來，專心地在京劇的領域中繼續學習。
」她的先生是一位拉胡琴的高手，是她的專屬琴師，時常幫她伴奏練唱，她笑說他們是「夫拉婦隨」
。

成為梅派弟子

一九八二年，魏女士到香港觀摩京劇大師──梅派傳人梅葆玖先生及荀派名伶童芷苓女士的演出
，「那場表演令我印象深刻的不只是大師深厚的功夫底子，還有全場觀眾那種心神合一的觀賞情緒及感動，使我發現，台上的演出可以完完全全牽動台下觀眾的心思。我第一次如此強烈地感受到自己學習的目標。」之後，她下定決心向梅葆玖老師重新學習，體會京劇更深層的內涵。

魏女士向我們解釋，小時候與長大後入戲的方法及角色扮演的技巧有什麼不同。她說，小的時候總是會要求自己動作要做得精準確實，講到這，魏女士隨機徒手模擬著古人飲茶的手勢，彷彿真有那麼一只茶杯在她手中似的！等到長大受的訓練多了，揣摩的項目更加全面，包括從各方面去了解所要飾演角色的心理，因此，注意力轉而集中在拿捏眼神、表情和動作的幅度上，達到收放適中的程度。不過，永遠不會變的是，表演的細節一定要經過仔細的排練，並且想像古人的外貌與精神，將傳統的正規訓練實際應用在舞台上。

另外，有鑒於中國大陸傑出的年輕人才輩出，魏女士歸因於下列幾點：結構完整的教學系統以及學習環境，和豐富的傳統資源，讓當地即便是不到十歲的演員都能在舉手投足之間散發濃厚道地的韻味！反觀台灣的制度就鬆散的多了，因而多半要到了三十出頭，擁有較豐富的人生經歷後，方能展現成熟的體驗與魅力。

步上國際舞台

在魏女士的演藝生涯中，成功地演活了許多個不同的角色，然而她並不滿足於此，進而與『當代傳奇劇場』聯手打造西洋名劇的中國版，諸如將莎士比亞的名作《馬克白》改編為《慾望城國》，還有改編希臘名作《樓蘭女》。

《慾望城國》於1990年在英國皇家劇院隆重演出，這是『當代傳奇劇場』首次應邀出國展演，而且是在西方戲劇大家莎士比亞的故鄉，因此她格外地緊張、興奮。她向我們提到，英國皇家劇院的工作人員一開始看到他們時，態度相當冷淡，直到經過幾次彩排，發覺這群台灣來的演員，個個具有一身異於常人的高超功夫──能演、能唱、能跳，確確實實地讓那群英國人心服口服，演出後的迴響非常好，更引起英國劇壇廣泛熱烈的討論。「在最後一場表演即將結束，演員一字排開謝幕時，舞台的頂端竟下起一陣花雨，原來是該劇院的藝術總監為了表達心中無比的尊敬，特地私下安排的。全團的演員都非常感動、喜悅的不能自己。」

不論是《慾望城國》或是《樓蘭女》，魏女士等人都在服裝、音效和佈景上有極大的突破，完全跳脫傳統中國的戲劇模式，例如《樓蘭女》結合了印、加音樂，卻仍保持京劇的發聲技巧等精髓。魏女士認為，「創新」是對新時代觀眾的一種責任，她覺得自己有義務給觀眾一些不一樣的感受。傳統的演員多背負著傳承的包袱，她算是成功地將自己的某一部份歸零重塑了。

未來之展望與期許

步入而立之年的魏女士，已經是位成功傑出的人才了，但她絕不因此而自滿。回顧過去，她用盡全力培育舞台生涯；對於未來，可是充滿了理想與抱負呢！

「記得以前，每逢上台，我總會緊張一陣，漸漸地我發現，除了信心和能力以外，壓力就是促使自己前進最重要的一種動力。」在魏女士的眼裡，藝術沒有所謂的完美，哪怕只是一點點的突破，都是一件值得驚喜的事，所以她不斷的要求自己，不斷的充實自己。她為自己設立了一個目標──十年之內，演出三到四齣的新戲，以老戲新作的手法展現自己的風格，如果有機會的話，希望能多有出國表演推廣的機會。

說到推廣，魏女士笑著說，身為一個文化工作者，對於舊有文化的傳承定是肩負著責任。而推廣戲劇最直接的方法，除了演出以外，便是將觸角伸入青年學子所在的校園裡，藉著基本講解及親身示範等達到教學的目的。這項工作她之前一直沒有時間去實踐，直到近年成立了〝魏海敏京劇藝術文教基金會〞以後，方得以執行，包括了廣電節目、出版書籍、巡迴演講等，目前做最多的，應數推廣式的示範講座了。

其實，在巡迴演講的過程中，魏女士不但做到社教方面的貢獻，亦在其中展現了真實的自我，她認為這跟在舞台上是兩種截然不同的呈現。事實上，戲中人物的性格是可以透過京劇的功夫包裝，進一步與真實生活中的人性相呼應，並且在短暫的時間後，又返回真實的世界當中；以樸素的打扮面對觀眾，對魏女士反倒是一項挑戰，她是以原始的聲音、言語和動作，流露出自己真實的一面。

這樣的心情轉而運用到每個人的日常生活中，魏女士建議，人人皆須對自己的個性、興趣、能力有足夠的認知，而不是等別人來幫助你省察自己，「只有充分的自覺加上持之以恆的努力，才能使你在各個領域中脫穎而出，這是千古不變的道理，與各位同學分享。」

是吧！就是這麼一股力量，造就了今日的魏海敏女士──這樣一位稱職的生活導師，這樣一位不朽的京劇國寶！

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Opera: A Journey for the Committed
An Interview with National Opera Star-
Ms. Hai-Ming Wei

◎ 11A Debbie Chang
10A Christopher Lo

Hard work and talent paved the way for National Opera star Hai-Ming Wei  to become a world - renowned  Chinese opera  star. Beginning her formal  training at  the  age  of 10, her father and  two older  sisters encouraged her to join a prestigious opera  school. Initially, she viewed  joining  the  opera  school  as an  opportunity  to  escape  from the  pressures of  the Taiwan  school  system, thinking  that in an  opera- training  program she would not  need to work hard or do any homework. When admitted to the Xiao Hai Guang School of  Opera  in 1969, she was shocked by how much more work opera training required. Brought up by her father  and  her two  older  sisters,   Wei  enjoyed  a  close  relationship with  her  father  and continued to spend time with him even after joining opera school. Her father previously held a high position in the military but gave it  up to spend  more  time  with  his  family. Sending Wei to the residential opera school, which  had full- time  supervision, was  her  father's way of making sure she was brought up properly.

The Xiao Hai Guang Opera School  disciplined  its  students  with a strict  military- style system. Wei was a quick learner with natural talent that her instructors  immediately  noticed and appreciated, enabling her to gain many opportunities  and  more personal training. Xiao Hai Guang employed  a  seven- year program with an extra two years  of  internship. During these  two  years, Wei began to question  her  profession-- did she really want to  become an opera performer ? Wei  had  to make  some  crucial  career  decisions.  She  looked  into  the moviemaking  business  but  decided  that it was  not  for her. She  also  married and  settled down, which helped her to make the  fortunate choice  of  sticking  with  opera. In 1982, she attended a breath taking opera performance, which showed her the sheer strength and power of the Chinese Opera. At that moment she knew that her destiny lay in learning all she could from the greats of Chinese Opera.

Explaining  the  complexities of studying  the  art  of Chinese opera, Wei  said  years  of formal training prepare the artist with basic techniques, but many more years of practice and study are needed to perfect the art. Wei first performed  formally at the age  of 12. However, under the Taiwanese  system, Wei  stressed  that an artist must be around 35-years- old to be mature enough to perform well. Chinese opera training in China, on the other hand, involves stricter standards and higher requirements.  Younger children  develop their “instinct” for good opera at an early age. This “instinct” is needed to comprehend and perform Chinese opera well and is the definitive difference between the pupil and the master. Soon the young pupil  can  use  the  methods  taught  by  the  instructor,  but lack  of  experience  leaves  the beginner  hesitant.  Mature  performers must be able to  portray  the  character with faith and confident, precise movements of the hands, eyes, and body.

Wei's most memorable performance was a Chinese opera- styled adaptation of Macbeth. Her opera company had translated the British play and was preparing  to  perform in Britain. At first, Wei thought that this would be an  exciting  new experience.  Soon, her  excitement gave way into  apprehension.  How would  the British audience receive  their  performance? Could they appreciate the elements of opera incorporated  into a masterpiece of one of  their own  literary  heroes? Moved  to  tears  by pride in her own  performance  and  the gratitude shown by the British  towards  a  foreign  performing group, the standing  ovation  surprised Wei.

Wei really had fun with the Macbeth because  she  enjoys studying not  only  traditional Chinese operatic roles, but characters of all  types. Opera  enchants her  because  she enjoys the challenge  of  accurately  portraying  her part.  One of the most vital, and most beautiful, aspects of Chinese opera is the make up. An independent woman who likes to do everything by herself, Wei revealed that she learned to apply her own makeup. Her favorite character to make up is a young male warrior, for which Wei must fully conceal her hair to convincingly portray. Extremely thorough in her costumery, she strongly believes that appearance is vital in making a good impression on her audience.

As an opera star, Wei's  energy and voice are crucial. To  ensure her  health,  she pushes off unnecessary  tasks  when  she is very busy, only committing to the most  important. As a person who must  handle  many  different obligations,  she  has developed her own  ways to deal with great pressure. She says that, when she is under great pressure, she just tries to turn the pressure into a motivating force.

Sleeping  early  is  not  a problem for Wei, because  she  would  never  stay up all  night anyway. She  laughs  at how calm her life  is,  saying  that  she  is  never wild. Smoking and drinking (whether alcohol, coffee, or tea) have no part in her life. Wei is easily satisfied with a job she likes and a life that suits her. She thinks that today’s people are too dependent on materialistic comforts, while she believes that,  after a  certain  point,  trying to "get more" is simply adding a new kind of worry to an otherwise enjoyable life. Wei says  that one reason she does  not  really require excitement  in her life is because opera  takes up so  much  of it. Her ambitions  are  all poured into opera, where she strives to do her best. With her time and energy spent on an occupation she loves, Wei does not have much to ask from other aspects of her life.

Each  year,  Wei  sets one  major  project as her goal. In  earlier  years  it was  always an operatic  production, but she is  slowly moving towards more  public missions. For example, some of us may remember  a  speech  Wei made at our  school,  as  she  has  done  at  many others.  Although  time  does  not  permit  her  to  become  a  full - time teacher, Wei  enjoys speaking to students.  She  says  that, in opera, she is under  a  mask,  playing  a  part. In the classroom, however, she is just herself, sharing her experiences.

Within ten years Wei plans to complete three or four new productions. One goal she has for the future is  to make new friends and spend time getting to really know  them. Wei does not know what she wants  to do after she stops acting, but she  knows that she will be  doing something. She cannot just sit still all day, so she  surely she will  be able to  occupy  herself with various  projects when  the time comes.  It  seems that  opera  is  Wei's destiny, and she hopes it will become the chosen destiny of youngsters for generations to come.

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