臺州亂彈“花開”新西蘭

陳敢

新西蘭總理約翰?基與臺州亂彈劇團部分演職人員交談。Prime Minister of New Zealand John Key chats with some Luantan artists.

2月的新西蘭正值夏日，入夜，上千盞彩燈將奧克蘭市阿爾伯特公園裝扮得流光溢彩，當地民眾三五成群結伴徜徉其間，賞花燈、品美食、觀表演，親身感受正在這里展演的中國傳統文化。

按照文化部部署和省、市的安排，受新西蘭亞洲基金會的邀請，浙江省臺州亂彈劇團15名演員參加了新西蘭元宵燈會。在2月3日至5日的奧克蘭元宵燈會和2月11日至12日的基督城元宵燈會上，臺州亂彈以華麗的服飾、精湛的演技、熱鬧的場景獲得觀眾熱烈的掌聲，共吸引了30余萬人次前來觀賞。

追著演員看演技

在新西蘭元宵燈會上，浙江臺州亂彈劇團技藝和上?！叭铸埅{隊 ”的舞龍表演，將中國南方戲曲與雜技交融，極富喜慶色彩；北京的龍神道搖滾樂隊以及奧克蘭本地的藝術團體和個人也紛紛登臺獻藝。中國文藝團體為游客們獻上了一

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臺包括民族舞蹈、地方戲曲、現代音樂、中國民樂等各式節目的多彩晚會。

在首場4個半小時的演出間隙，新西蘭總理約翰 ?基、中國駐新大使徐建國等新西蘭各界名流看望了臺州亂彈的代表團全體人員。約翰 ?基總理還向大家恭賀新年，并高度評價華人社區為新西蘭社會所作出的重要貢獻。

身為浙江老鄉的徐建國大使在認真聽取關于臺州亂彈的介紹后，高興地說，隨著中新文化交流日趨頻繁，新西蘭元宵燈會越來越受到當地主流社會歡迎，臺州亂彈這樣的文化項目到燈會上演出，很好地推動了中國文化和西方文化的融合。

參加表演的臺州亂彈劇團副團長朱鋒深有感觸地說，每場演出完畢，總有不少新西蘭民眾興致勃勃地跑到后臺，追著演員看服飾，比劃著動作學演技。更有不少家庭還跟著中國文藝團體從奧克蘭到基督城，觀看每一場演出。他們在草地上或廣場中鋪上一塊布片，席地而坐，或自帶板凳結伴觀看，場景十分感人。

24歲的演員葉省委，身高雖然只有1.66米，但他表演的耍牙節目，卻讓觀眾敬佩不已，幾乎每場表演一結束，就有好奇的大人、小孩追到后臺，要求再表演一段。

其實，他表演的是將幾顆五六厘米長的公豬牙放在口中，不斷地在嘴里“翻滾”，變戲法似的表演各種“兇惡”的臉型。練就這門“絕活”，他花了6年多時間，口腔時常被公豬的尖牙磨出血并發炎，這是一般藝人不愿表演的活。

臺州亂彈形成于明末清初，至今已有300多年歷史，是全國318個地方劇種之一，被戲劇界譽為“散發著濃郁地方特色的一朵蘭花”，2006年被列入首批國家級非物質文化遺產保護名錄。臺州亂彈劇團曾先后獲得全國“梅花”獎、“省五個一工程”獎、省藝術節表演金獎、省傳統劇目展演特別獎，2011年4月赴德國參加國際文化戲劇節演出獲最高獎——特別獎。

此次臺州亂彈代表團赴新西蘭演出的節目包括技藝展示《亂彈戀歌》、器樂舞蹈《東方茉莉》、戲曲街舞《粉墨人生》等，將富有特色的水袖、耍牙、翎子、彩綢、武功等表演技巧重新設計編排，內容豐富、技藝精湛、形式新穎，既充分體現了濃郁的中國特色，又散發著強烈的時代氣息。

臺州亂彈劇團演員在新西蘭接受媒體采訪。

A Luantan artist of Taizhou in an interview in New Zealand

毛利文化迎賓禮

在新西蘭期間，臺州亂彈劇團還分別到奧克蘭、基督城的美術館、學校等機構與當地民眾進行互動，累計演出19場?；顒又鬓k方之一新西蘭亞洲基金會相關負責人表示，臺州亂彈等中國文藝團體此次赴新演出，為正在逐漸走出2011年“2?22”大地震陰影的新西蘭民眾送來了極好的“精神療傷劑”，更表明中國文化已經成為新西蘭多元文化的重要組成部分。

讓臺州亂彈劇團演員們驚喜的是，在奧克蘭一所中學里，學生們用新西蘭毛利人歡迎客人的方式隆重歡迎演員們的到來。歡迎儀式開始時，會場先是一片寂靜。男女學生整齊地列隊兩旁，在一陣長時間沉寂以后，突然走出一位赤膊光腳的學生，先是一聲洪亮的吆喝，接著引吭高歌。

歌聲剛落，小姑娘們翩翩起舞，舞姿優美，周圍的人一同伴唱。在新西蘭，你會時刻感覺到毛利文化的存在，一個民族的文化深深地影響了整個國家的生活。不管是黃皮膚、白皮膚還是棕色皮膚，人人都樂在其中，享受著多元文化的精彩。

在國內，一般是演出結束后，演員在觀眾的掌聲中謝幕，而國外的觀眾特別熱情，“幾乎每隔幾分鐘就響起一陣掌聲或尖叫聲”，特別是表演戲曲街舞《粉墨人生》時，一到高潮，成千上萬的觀眾會和著音樂節奏一起共舞，臺上臺下一片“沸

中國駐新西蘭大使徐建國夫婦與臺州亂彈劇團演職人員合影。

Chinese Ambassador to New Zealand Xu Jianguo and his wife take a group photo with Luantan artists after a show.

騰”的感覺，很讓人激動，臺州亂彈劇團副團長朱鋒笑著說。

在國內，舞臺一般離觀眾席有六七米的距離，而此次在新西蘭演出，舞臺臨時搭建，臺上臺下近距離互動。在10多天的文化交流活動中，演員們既親身感受到新西蘭民眾對中國傳統文化超出想象的熱情，更深切感到中華傳統文化迫切需要走出去，有必要向世界展示正統、高質量的中華傳統文化。

團隊合作展魅力

為了讓國外觀眾更好地了解臺州亂彈，劇團把臺州亂彈的戲曲種類當中各行當優秀的表演形式進行巧妙穿插，像把耍牙、耍靈芝、水袖、變臉這一些亂彈的表演特技綜合起來，有機結合，同時還添加了街舞等不少現代時尚元素，很受新西蘭民眾的歡迎。

這次出國的臺州亂彈劇團演員平均年齡雖然只有23歲，但是他們的表演相當專業，節目展示的主題是濃郁的中國文化元素。

每次總長度為4個半小時的中國文藝表演，臺州亂彈劇團演員們上臺就要連續表演2場，每場3個節目，每個節目表演時間為7分鐘左右，全是同一批演員，中間節目趕場時間十分緊張，每次演員更換衣服、道具只有短短的1分鐘，成功演出靠的就是全體演員的團隊合作精神。

在新西蘭演出，因為是大伙兒結伴合在一起做飯吃，大多數演員又不大會做菜，于是就在當地超市里買了許多雞蛋，大家天天吃雞蛋。有多名演員還是帶傷參加表演的。

表演臺州亂彈“變臉”節目的演員吳飛平，在演出中，突然半邊臉腫大，到當地醫院診斷是患上牙病，無奈中只能拔掉了一顆牙，結果他就沒法上臺表演了。當時，盡管大家都很累，但他的節目，大伙兒爭著頂，就連腳受傷的演員褚振義、朱俊箭也頂了幾場。

“變臉”節目是將10張事先畫好的不同顏色的怪臉，一張張貼在臉上，在表演過程中一張張撕下來變臉。表演這門技藝，往往使人呼吸困難，不同顏色的怪臉堵住了人的鼻孔和嘴巴，大家為了確保節目表演順利，各自在臺下一遍遍地苦練，終于成功地頂了下來。

正因為全體演員的團隊合作精神，才使一場場演出展現出巨大的魅力，使新西蘭觀眾看后不斷開懷大笑，不少人連聲稱贊并爭相與演員合影留念。

據介紹，奧克蘭和基督城元宵燈會由新西蘭亞洲基金會分別與奧克蘭、基督城市政府聯合主辦，至今已有10余年的歷史。浙江省曾組織派出海寧燈彩、永康九獅圖、長興百葉龍、余杭滾燈等民間藝術參加燈會演出。今年恰逢中新建交40周年，又是中國傳統的龍年新春，新西蘭各大英文、華文媒體紛紛進行了報道，異彩紛呈的燈會成為輿論關注話題，廣受民眾歡迎和好評。□

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By Chen Gan

At the invitation of Asia Fund Association of New Zealand and with the arrangements of the Ministry of Culture and cultural authorities of Taizhou City and Zhejiang Province, Taizhou Lu-antan Troupe sent a group of 15 artists to appear at lantern festivals in New Zealand. They staged shows at a lantern festival in Auckland from Feb-ruary 2 through 5 and then they performed their stunts at Christchurch from February 11 to 12.

Luantan is a regional theatrical performance art popular in rural Zhejiang. It bustles with noise and excitement; it features stunts and costumes in dazzling colors. It originated and took shape in the last years of the Ming Dynasty (1368-1644) and the Qing Dynasty (1644-1911). As one of the 318 regional operas of China, the 300-plus-year-old Taizhou Luantan was inscribed in 2006 on the first list of national intangible cultural heritages under government protection. The troupe has won numerous awards. In April 2011, the troupe won a special prize at an international culture and theater festival in Germany.

The Luantan artists were only part of a Chi-nese show program for the two lantern festivals in New Zealand and the program was jointly staged by artists from other parts of China. The Luantan troupe from Taizhou attracted 300,000 people to watch their shows during their visit to New Zealand.

In the 4.5-hour Chinese show, the Luantan art-ists were given about half an hour to stage three items and each was about 7 minutes long. They had only one minute to change and get ready af-ter a show was over and the next one was to start. The three shows highlighted the best of Luantan. The Luantan highlights staged at Auckland and Christ City included “hog-teeth show”, “long-

臺州亂彈演員在新西蘭基督城小學與當地青少年互動。

Ye Shengwei, a Luantan artist, shows off his teeth-play at a primary school at Christchurch, New Zealand.

臺州亂彈劇團向徐建國大使贈送書法作品。

Taizhou Luantan Troupe presents Ambassador Xu Jianguo with an inscription in callig-raphy.

sleeve show”, “colored silk stripe show” and kongfu. All the stunts had been especially choreographed for the mission. The idea behind the new choreography was to let the shows highlight the local char-

新西蘭觀眾正在學奏中國樂器二胡。

A Luantan artist shows a New Zealand youngster how to play a traditional Chinese instrument.

acteristics of Taizhou and make it easy to understand for the audi-ences in New Zealand.

The hog teeth show is a stunt seen in some regional operas. In China, a regional opera may present highly poetic and graceful singing and dancing as well as some exciting gags designed to wow audiences. Other well known special shows include clowns, kongfu, and face changing. The 24-year-old Ye Shengwei, one of the 15 Luantan artists from Taizhou, is a teeth show player. His stunt was a surefire gag. Some audience members were so curious about the in-credible play that at the end of the show, they rushed backstage and asked Ye to repeat it again.

He hides some 5-cm-low boar teeth in his mouth, roles them masterfully inside and shows them in different ways. These teeth help form ferocious facial expressions. Ye spent 6 years practicing and mastering the stunt before he was able to play the teeth onstage. The teeth play is a hard stunt to master. Most folk artists do not want to learn it. In China only a handful of artists are able to stage this stunt. Ye is one of the few and this partly explains why he is so popular.

One of the three shows was a hop-pop dance in Luantan style. If face changing and teeth stunts wowed the audiences, this hop-pop in Luantan style made every spec-tator want to dance.

The lantern festivals in Auckland and Christchurch were designed to help people get rid of the pains and shadows of the killer quake that hit Christchurch on February 22, 2011 and caused a heavy death toll. Fes-tivities at the two cities did attract many local residents, as it is summer in the southern hemisphere. Luantan performances indicated that Chinese culture is now an in-tegral part of the diverse culture of New Zealand.

During their visit to New Zealand, the Luantan artists learned a few things. They watched a Maori-styled welcome ceremony at a middle school at Auckland and they were deeply touched by its adolescent sunshine beauty. They learned that audiences in New Zealand would clap warmly and even scream frequently during a show. During their hop-pop dance, audiences responded to the mu-sical rhythm. Seeing thousands of people sway and move rhythmi-cally gave the Luantan artists a sense of excitement.

The Luantan artists from Taizhou staged 19 performances al-together during their February visit to New Zealand. Some shows were held at art galleries and schools. □