厚樸蘊性靈 平實藉真誠

孝豐路，杭州武林路商業街旁的一條小巷子，許多本地人也未必能說出它的方位。孝豐路安靜、厚重，顯得有點簡陋。浙江省文化廳原廳長、著名劇作家、書法家錢法成老先生正是住在這條鬧中取靜的舊街中。我們前往采訪時，他正在趕回家的路上。只見錢老拄著拐杖趔趄而來，老伴則坐在輪椅里，由阿姨推著。老兩口樂呵呵地過來，寒暄之后開門，進家。就在用幾塊木板鋪上毛氈自己搭設的“畫案”邊落座，開始我們的這次訪談。

歷史大劇耀戲壇

錢老在農村的一個小鎮長大，從小受一位擅長二胡的盲人的熏陶，對音樂，特別是二胡有著特殊的愛好。出于對戲劇的喜愛，他在1955年向組織提出調往當時“流浪”在社會上的“國風”昆劇團工作。在那里，錢法成完成了帶團赴京演出《十五貫》并拍攝電影的任務。同時學習昆曲，并結交了許多戲曲界的朋友。“大躍進”之后，錢老被調到名為《俱樂部（半月刊）》的刊物工作，1959年停刊后，錢法成被調往文化局所屬的創作社工作，正式走上了劇本創作道路。

《臥薪嘗膽》是錢法成戲劇創作生涯中的第一部大戲。這部戲的劇本以他為主創編，與巍峨、方元共同合作完成。任務下達后，省里將浙江婺劇團從金華調遣到杭州，一邊由錢法成的創作小組寫劇本，一邊由婺劇團排戲。戲排出來之后，省里安排請當時來浙調研的文化部部長茅盾等觀看。回京后，茅盾部長搜集了全國《臥薪嘗膽》的各類劇本，撰寫了一篇名為《論歷史與歷史劇》的論文，發表在《人民日報》上，對歷史劇的創作起到了極大的推動作用。

大約是1980年，錢法成、巍峨在戲劇界前輩、著名劇作家顧錫東的陪同下重返茅盾故里，了卻了一樁20年的心愿——重寫《臥薪嘗膽》。在重讀《論歷史與歷史劇》一文之后，劇本加入了西施這一人物，更名為《西施淚》，由長春電影制片廠拍成戲曲電影，獲得很大反響。此后，錢法成與巍峨便成了省里領導抓重點劇目、重大題材的主要力量。

在《臥薪嘗膽》《西施淚》的創作經驗之上，錢法成在處理《胭脂》這部作品時顯得更為成熟。對《胭脂》的改編是創造性的，劇中人物的刻畫以及故事情節較以往有所不同，突出了“知錯就改皆圣賢”的主題，成為省有關方面招待國家領導人及外賓不可或缺的節目，觀看過該戲的外賓使節達81人。有一次，周恩來總理因招待外國元首而缺席了前三場的演出，第二天晚上又前往將《胭脂》完整地欣賞了一遍，并說：“這部戲可與《十五貫》媲美。”演出獲得廣泛好評和認可，劇本還經翻譯傳到了羅馬尼亞。后來，經過了“文革”劫難的《胭脂》，在重新受到中央領導的認可后，全國許多劇團又紛紛掀起了搬演《胭脂》的熱潮。《胭脂》還改編成彩色故事片，由香港長城公司及浙江省電影廠合拍，在全世界發行360多個拷貝。

《胭脂》之后，當時省里要求寫一部批判投降主義的戲，并選擇了杭州的一位民族英雄——于謙。巍峨與錢法成兩位“黃金搭檔”又承擔了這個任務。這一次，承接《于謙》演出任務的劇團是浙江紹劇團。當時寫戲的人有個習慣，就是為哪個劇團寫戲，就跟著哪個劇團“跑碼頭”，即隨團生活、創作。錢老跟我們解釋說，“跑碼頭”不僅可以了解演員、導演，還可以在排戲的時候與導演一起溝通商量排戲的細節。雖然當時隨團生活很辛苦，各方面條件也很差，餓著肚子寫劇本是常有的事，但也促進了劇本的創作，提高了戲的整體質量。從小看紹劇長大的錢法成，在《于謙》的創作上可謂得心應手，他提出：“一拉開幕，要在三分鐘內讓觀眾入戲。”濃烈的紹劇特點，扣人心弦的故事情節，使《于謙》一炮走紅。

此外，錢老還擔任了電視連續劇《紹興師爺》、戲曲電視連續劇《大義夫人》、京劇《南屏晚鐘》、越劇《王羲之》及《柳玉娘》的編劇，在省內及全國各類評選活動中多次獲得獎項。

至于最新的作品，錢老則向我們透露了他構思了20年的一個劇本。故事講的是清朝乾隆年間，一個姓李的書生在孝豐（今安吉）當了縣令，但書生出身的他，剛正耿直，兩袖清風，得罪了一批貪官污吏，最后以“不懂公文規格”而棄官，食不果腹，饑寒交迫，但他深受民眾愛戴，許多百姓自發給他送去食物……

我們期待錢老這一懷揣了20多年的愿望能夠盡快實現。

“巍峨雙戈”傳佳話

古時有俞伯牙與鐘子期的“高山流水”，浙江戲曲界則有“巍峨雙戈”的佳話。細數錢老的代表作，從《臥薪嘗膽》到《西施淚》，從《胭脂》到《于謙》，都能看到其合作者巍峨的名字。

在創作過程中，錢法成一直提倡“同行相親”，這種做法在當時文藝界還是比較少見的。錢法成鼓勵同行之間要積極溝通思想，交換想法與點子，并提出了“香爐說”，即三個人的創作組就猶如一只宣德爐：三足鼎立，一個肚子，一張嘴，形象生動地描繪出當時創作同行之間齊心協力的良好氛圍。錢老說：“集體創作的時候，最怕的就是不敢說出自己幼稚、不成熟的想法。往往正是這些不成熟的想法，在經過思想的碰撞之后，迸出意想不到的火花。”

藝術上的合作加深了兩人之間的友誼。巍峨與錢法成相識于二十幾歲時，高中畢業的巍峨參軍后被選拔為抗美援朝第一批志愿軍。天資聰穎的他，在部隊里首次將美國罐頭制成二胡。復員后回到云和老家，從事水利工作。由于巍峨是一名文藝骨干，吹拉彈唱樣樣精通，便被調入省文化局，與錢法成成為同事。

說到巍峨，不得不說一說他的家世。巍峨的祖父是當年跟隨孫中山一起參加辛亥革命的愛國人士。辛亥革命成功后，曾擔任上海鐵路局局長，后掛官回云和老家，隱居深山。巍峨的父親則擔任過國民黨政府的科級官職，后遭牢獄而死。這樣的家庭背景，在“文革”中可謂是“危險分子”，極容易成為打擊對象。患難見真情，“頭上沒辮子，屁股沒尾巴”，出身清白的錢法成在巍峨有困難的時候，常常主動伸出援手，分擔責任。“文革”中，因為《胭脂》劇本中一句兩人合作創作的臺詞，巍峨差點成為批斗的對象，是錢法成及時挺身而出，主動承擔責任，才化解了巍峨可能遭受的沖擊。這真是肝膽相照見真情，巍峨雙戈道義深。

巍峨為人正直，但由于家庭背景導致的歷史問題，在人生道路上磨難較多。巍峨在結婚之際，曾一度遇到波折，錢法成看在眼里，急在心里，熱心相助，促成美滿姻緣。巍峨更是對這位老友無話不說，每遇到什么難題，不管是生活上還是工作上，都會找他訴說。可以說，在巍峨人生道路上重要關頭，都有錢法成老友的慷慨相助。

兩人的深厚感情甚至延伸到了下一代身上。錢法成的大兒子就認巍峨為干爹，這么多年來，兩家人的往來一直不斷。如今，年逾八旬的巍峨因患老年癡呆癥，在浙江省立同德醫院住院治療。錢老曾多次前往看望昔日老友。兩位耄耋老人幾十年友情佳話在圈里圈外廣為傳頌。

翰墨飄香醉晚霞

除了在戲劇界公認的地位，錢老在書法上的造詣亦有目共睹。2007年，《現代中國書畫家作品精選——錢法成書法選》出版。2009年，由錢法成牽頭的藝林書畫院成立。2010年底，藝林書畫院在省圖書館舉行了首次書畫作品展，錢法成與他的同行們展示了他們近年來創作的作品，受到書畫界廣泛好評。

“藝術是觸類旁通的，音樂、書法、繪畫、戲劇都懂一些，很有好處。”錢老認為，一個人寫出來的字跟他自身的修養有關，如果一個人對其他藝術門類沒有任何了解，那么他的字必定成不了大器。

小時候，錢老就受到幾位擅長書法的同鄉影響，加上所在學校開設有書法課，從小就打下了基礎。另一個讓錢法成與書法結緣的契機，則發生在“文革”期間。錢法成在“文革”早期就被“靠邊”，當時“靠邊”的一大任務就是抄大字報，每個字要書寫成一寸多見方，相當于練“書法”。與戲曲創作不同，練習書法還有一個好處就是可以利用零散時間。這樣錢老即使擔任領導職務后，也可以充分利用時間來練字。

41年前，錢老的一只眼睛就失明了。三四年前，由于搬家時的一次意外，他的另一只眼又失明了。當時的錢老只有一個感覺：完了，這回是真的完了！慶幸的是，經過治療后，錢老的視力恢復至0.1～0.2。后來的兩次手術，也微弱地提高了錢老的視力。但即便如此，一般情況下，他還是看不清來人的五官，只有在幾盞白熾燈同時打開的情況下，才會看得稍微清晰一點。

在這樣的視力狀況下，錢老依舊從事著他熱愛的書法藝術。由于視力的原因，錢老作品大多為大字，但他小字也能寫，因為“寫字是用腦子、用手。讀書、看報用的才是眼睛。”說著，他從桌子抽屜里拿出好幾只款式各異的放大鏡，這些正是他閱讀的工具。書法對于錢老來說是一種“休息”，讓身心都得到徹底的放松。另外一個好處，則使由于長年從事創作工作而患的頸椎病的頑疾得到了根治。

采訪間隙，錢老還向我們介紹了安裝在他簡陋畫室里的一個“機關”——宣紙牽引器。對于這項小發明，錢老倍感自豪，每每遇見其他練習書法的朋友，都會推薦他們也回家仿效一個。別小看這個“裝置”，它已經跟隨了錢老20多年。細看這個小機關，其實很簡單，就是由掛歷上的軸、一枚普通的文件夾、螺絲和繩子組成。“有了它，就可以更加直觀地審視自己的作品了。”□

Colorful Career of Zhejiang Playwright and Calligrapher

By Bao Zhicheng， Lu Ruohe

Qian Facheng， now retired， is a much respected playwright based in Hangzhou， the capital of eastern China’s coastal Zhejiang province. He now lives in an apartment in a side street near a prosperous shopping street. On our way to visit him at home， we run into Qian and his wife in the street， he walking with a stick and his wife sitting in a wheelchair pushed by a maid. The apartment is small and crowded with furniture. In the perspective of the small apartment， it is hard to imagine how the playwright created beautiful dramas on the stage.

Qian Facheng is by no means a prolific playwright， but in his prime years he and his partner Wei E and others jointly created three plays that put Zhejiang on the map of the Chinese operas in the 1950s and 1960s.

Qian was born in a small rural town. He grew up to love local operas with the influence of a blind folk musician. In 1955， he joined Guofeng Kunqu Opera Troupe. He worked briefly for a biweekly entitled Club before he got transferred to the playwrights’ department under the Provincial Culture Bureau， which marked the beginning of his playwright career.

“Revenge”， a story based on the King of Yue State who， after his disgraceful defeat， humbled himself and prepared secretly for years to get his revenge and successfully conquered his archrival and restored his kingdom， is Qian’s first major dramatic creation in partnership with Wei E and Fang Yuan. Zhejiang Wuju Opera Troupe， based in Jinhua， a city in central Zhejiang， came all the way to Hangzhou to rehearse whereas Qian and his partners worked on the script. Mao Dun， then Minister of Culture and novelist and Zhejiang native， was invited to Hangzhou to the premiere. Back in Beijing， Mao Dun studied all the versions of “Revenge” staged by troupes across the country and wrote an essay entitled “History and History Dramas”， which was later published in People’s Daily.

“Revenge” went through a major rewriting， including for the first time Xi Shi the beauty， a legendary girl who helped the King of Yue avenge his enemy. “Revenge” changed its name to “The Tears of Xi Shi the Beauty”. It was a sensational success. With the success of the drama， Qian Facheng and Wei E were appointed major playwrights for drama projects financed and sponsored by the provincial cultural authorities.

Then Qian and Wei jointly created “A Girl Named Rouge”， a play adapted from a story in the famous “Strange Tales of a Chinese Studio” by Pu Songling (1640-1715)， a master of short stories of the Qing Dynasty (1644-1911). The creative adaptation contributed to the enormous success of the play. In the early 1960s it was a must for visiting international guests who came to visit Hangzhou. The data from the 1960s indicate that 81 foreign ambassadors and VIP visitors watched the drama in Hangzhou. Premier Zhou Enlai watched it too， speaking highly of the adaptation. After the Cultural Revolution (1966-1976)， the play was restaged in Hangzhou. With the applause and approval from the top state leaders， it was staged by many other troupes across China.

For the next drama project at the provincial level， Qian and Wei partnership created “Yu Qian”， a namesake national hero in a military campaign against the invading Mongol army from north and Hangzhou native， who was executed after a palace coup. It was to be staged by Shaoxing Opera Troupe. Qian and Wei E joined the troupe on a temporary basis and worked and lived with the stage artists and crew while the two were writing the script. The approach enabled the two playwrights to get intimately along with the stage artists so that the play could suit them perfectly. As he grew up watching Shaoxing Opera plays， Qian decided that the new play must grab the attention of the audience within three minutes after the curtain was up. Their joint efforts paid off. The play was a great success.

Qian and Wei are more than a creative partnership. Their friendship is a legend among the drama circles in Zhejiang. As his grandfather was a hero of the 1911 revolution and his father worked for the KMT government before 1949， Wei E suffered in political movements after 1949. Even his wedding was almost aborted when his would-be bride learned about her fiancé’s family background and worried about the future. Qian talked the woman around and the wedding was held. Wei E is Qian’s first son’s godfather. Wei E is now hospitalized for senile dementia. Qian Facheng visits him now and then.

Qian is more than a playwright. He is a preeminent calligrapher. He published a collection of his calligraphic artworks in 2007 and in 2009. Yilin Academy of Calligraphy and Painting came into being thanks to Qian’s efforts. At the end of 2010， the academy held its breakthrough exhibition of calligraphy and painting at Zhejiang Library.

Qian started calligraphic studies in his primary school years. Politically marginalized in the early years of the Cultural Revolution (1966-1976)， he had all the time in the world to practice calligraphy seriously. He was often assigned to make copies of large-character posters of criticism. This was another way of practicing calligraphy for the learning calligrapher.

Qian offers insight into the art of calligraphy: Unlike writing a script which required whole blocks of time， calligraphy can be practiced in odds and bits of time. If you can’t practice it with a brush pen， you can use a fountain pen. “The art of calligraphy draws on other arts. A calligrapher can benefit a great deal from his knowledge of other arts such as music， drama， and painting，” he observes. Calligraphy shows one’s qualities acquired through artistic training. A calligrapher can go nowhere if he has no knowledge of other arts.

Qian has fought blindness to become a calligrapher. He turned blind in one eye in 1972 and he lost the remaining eyesight a few years ago. He despaired. But his eyesight came back after surgery. Fortunately his passion for calligraphy can still be satisfied. He keeps writing large characters， though he can also manage to write the small script. For Qian， practicing calligraphy calls for the coordination of the mind and the hand. Reading needs the eyesight. Calligraphy gives him more than artistic pursuit. It gives him a perfect relaxation. Thanks to calligraphic practice over years， the pain of the cervical vertebrae which resulted from writing and tortured him for decades is now gone.

At his small study， Qian proudly showed us a small device he invented more than 20 years ago. The simple device is used to hang the rice paper vertically so that he can examine his calligraphy more critically. He now promotes this device to his calligrapher friends. Calligraphy should stand scrutiny when the paper is in the vertical position. Many a calligraphic work looks wonderful when the paper is spread horizontally on a table but shows defects and fails to appeal after the artwork hangs vertically. Coincidently， Qian found a Japanese master calligrapher invented a similar device.

Qian had desired to hold a solo show of his calligraphy when he was 80. But the project has been postponed for two reasons: the playwright is not satisfied with his calligraphy and he needs more time to prepare for the exhibition. He had wanted to paint again， but his eyesight is now a huge problem.

When we left Qian’s home， dusk had descended. A Mei flower tree was in blossom in the courtyard. The tree offers no showy flowers， but the fragrance is attractive: it is exactly what Qian’s life career as playwright and calligrapher symbolizes.□