二十五年磨一劍

與管波相約會面是在她的家里．在這個充滿現(xiàn)代濃郁生活氣息的房子里，若不是衣帽間里露出一角的華美戲裝，很難看出這是一個京劇演員的家；可見到管波的人，誰都會承認，一眼看上去她就是個京劇演員，她的一笑一顰、舉手投足，活脫脫一個荀派花旦。這種發(fā)自內(nèi)心的活潑氣質(zhì)，不會隨著年齡的增長而減損。

2006年9月3日晚上，保利劇院花團錦簇、掌聲雷動，一場別開生面的京劇交響音樂會在這里舉行。時而是瀟灑儒雅的琴師拉著深沉、悠長的京胡，時而是嬌俏靚麗的花旦唱著婉轉(zhuǎn)動聽的曲調(diào)。這次音樂會的主角花旦和琴師，就是如今在京劇舞臺上非?；钴S的張順翔、管波夫婦。

張順翔、管波何許人也?提起管波，她的許多“粉絲”們都親切地稱她為“管管”、“波波”，“聲似管弦形似波”是戲迷們對她的贊美。她嗓音甜潤，扮相俊美，做功活潑灑脫，善于刻畫人物，無論是狡黠活潑的小紅娘（《紅娘》），還是溫柔多情的大家閨秀俞素秋（《勘玉釧》），都被她拿捏得恰到好處。管波師從著名京劇表演藝術(shù)家劉長瑜，又受到過宋長榮、吳素秋、張正芳、張逸娟等藝術(shù)家的指點，一路走來，似乎一帆風順，總是受到上天的眷顧，可有誰知道，當年她進入“菊苑”卻完全是一場誤打誤撞。

小時候的管波和現(xiàn)在一樣愛說愛笑，能歌善舞。1991年當營口戲校來到她就讀的小學招生時，從未接觸過京劇的管波動了心，她以為進戲校就能唱歌跳舞，于是就瞞著父母報了名并通過了考試。別看管波那時年紀小，在這件事上她很有自己的主意。在她的堅持下，通情達理的父母同意了她的選擇。

可進了戲校才知道這里完全不是她想象中那種唱歌跳舞“幸福生活”：每天都要早起吊嗓、練功，冬練三九、夏攻三伏，老師的要求非常嚴格，動作要是做得不到位，挨批評是家常便飯。整整半年，她都在偷偷掉眼淚?？擅慨敻改竸袼艞墪r，她卻堅決不肯，一直咬牙堅持著。有一次練習下腰的時候，頭撞在水泥地上磕破感染了，她不敢讓爸爸媽媽知道，媽媽來看她，她就偷偷躲起來。她說：“我從小就要強，雖然那時候不懂京劇，可想著為自己和父母爭一口氣，不能讓別人笑話?！睉{著這股韌勁，她很快就在同學中嶄露頭角，13歲時她隨營口戲曲學校進京演出《賣水》，引起了轟動。

長大后進了百花齊放的京劇群芳苑，如果說小時候是憋著股勁兒要比別人強，長大后吸引管波在京劇這個“群芳苑”中深入鉆研的，則是京劇本身的魅力了。“不入園林，怎知春色如許?！痹诰﹦∷囆g(shù)的探求過程中，有一朵奇葩讓管波留連忘返、如醉如癡：這就是純真自然、不拘一格的荀派藝術(shù)。她在這條道路上越走越有心得，如今的管波，已不是當年那個在姹紫嫣紅中左顧右盼的小姑娘，而是親身將“荀香”傳承下去的接力手。

比翼雙飛夫妻檔

“我在藝術(shù)上的成長，絕對離不開順翔的幫助?！边@句司空見慣的話在管波口里確實發(fā)自肺腑。張順翔，中國京劇院國家一級演奏師，電視連續(xù)劇《大宅門》片尾那一聲崩云裂帛的京胡聲，就出自他之手。這對夫妻，從營口戲校開始青梅竹馬的愛情到如今鶼鰈情深的婚姻生活，在梨園行有口皆碑。

張順翔含蓄內(nèi)斂、細心體貼，這與活潑外向的管波形成了互補。在采訪中，他不多話，可總是適時地走來添茶。管波不無驕傲地說，“在業(yè)務(wù)上我們都是尖子，總是互相比著。比如說考中國戲曲學院、留在中國京劇院、評上‘國家一級’，我們都是前后腳?！惫懿ㄉ吓_演出，張順翔經(jīng)常用攝像機全部錄下來，回來以后兩個人在一起慢慢研究，哪里做得好，哪里需要改進。張順翔是個完美主義者，他這么一做，把管波的潛質(zhì)充分挖掘了出來，但這也留下了“后遺癥”：出去演出前，管波經(jīng)常把好多衣服都拿出來，一件件往身上套，叫張順翔每一件都要作個中肯的評價。張順翔每次都被折騰得頭昏眼花，有時竟倒在床上昏昏睡去。管波笑著說：“誰叫他總是追求完美呢？我要把最好的一面呈現(xiàn)給觀眾呀！”

張順翔多才多藝，除了京胡，月琴、笛子、嗩吶等中國民族樂器他都精通。他還創(chuàng)作了很多京劇音樂，比如這次音樂會上演奏的《京胡印象》《琴瑟悠悠》《萬眾共育和諧篇》《貴妃情系百花亭》等。來到他們家的地下室，各種各樣用于音頻和視頻制作的專業(yè)器材叫人頗為震驚，這里是他們夫妻倆的工作室，他們常常在這里工作到深夜。

京劇舞臺上最耀目的是臺上的“角兒”，琴師往往都是幕后英雄。但這次交響音樂會，管波終于實現(xiàn)了自己的愿望，把老公推到了臺上最光彩奪目的位置，由此，可以說這次音樂會既是兩人藝術(shù)的集中展示，也是多年愛情的見證。

古典傳統(tǒng)也時尚

天真、爛漫、稚氣、純真的少女形象，是“荀派”藝術(shù)的典型代表。在表演上，“荀派”唱、念、做、表不拘于一格，唱腔甜潤，身段婀娜，步法、身段、都依人物性格而定，貼近生活、貼近大眾，具有特殊的親和力。這種“先天”的優(yōu)勢加上管波走到哪里都能感染別人的熱情性格，她帶動身邊很多朋友都喜歡上了京劇。管波2006年剛剛加入中國民主促進會，就組織了民進第一次京劇名家演唱會。她希望通過民進這個一向致力于保護和弘揚中國傳統(tǒng)文化的組織，更好地傳播京劇藝術(shù)。

管波還經(jīng)常赴境外演出，亞洲、歐洲、非洲，世界各地走遍，觀眾有當?shù)厝A僑，也有外國友人，“老外”們能夠理解京劇嗎?“能!”管波斬釘截鐵地回答。京劇雖然是原生態(tài)的中國本土藝術(shù)，可兼容性很強。過去出國演出的都是《拾玉鐲》《三岔口》這樣的經(jīng)典做功折子戲，可前年的一次英國之行改變了她的想法，他們演出了整本《辛安驛》，結(jié)果大獲成功。這使管波領(lǐng)悟到，不管在國外還是國內(nèi)，演出的成功首先要靠成功運作，目前她與張順翔創(chuàng)辦的文化公司，為京劇的市場化做了很多工作。

管波同樣是個“多面手”。她喜歡做主持人，因為這個角色能夠與觀眾有更多的溝通和互動。反應(yīng)靈敏的管波，總能在主持過程中直接觀察到觀眾的反應(yīng)，挑起觀眾的情緒，爭取觀眾。在京劇的普及推廣上，管波更是不遺余力。去年她參加了“京劇進校園”活動，深入淺出地向大學生介紹京劇各方面的基本知識。她一邊表演，一邊聲情并茂地詮釋著人物的行為和心理活動，并通過實列說明京劇人物的心理活動，往往是通過程式化的表演來展示的。管波的特殊講解方式讓年輕學子們不再覺得京劇“看不懂”，體會到了京劇的魅力，“京劇進校園”在大學生中掀起了“京劇熱”。今年3月，她剛剛結(jié)束了為“兩會”代表的演出，又踏上了西去甘肅的列車。這次，她作為北京市西城區(qū)的人民代表，參與“送戲三下鄉(xiāng)”活動，讓京劇與普通老百姓的距離更加接近。

管波愛京劇，但并不諱言京劇當前存在的諸多問題。她也有很多苦惱，比如找不到適合自己的新劇本。當年荀慧生身邊有很多人扶持，給他量身定做，寫了大量優(yōu)秀劇本的陳墨香先生就是其中一個。可現(xiàn)在新劇本不多，即使有也只能曇花一現(xiàn)，得過很多獎就不再演出了，無法流傳下去。荀慧生先生一生演出過300多出劇目，代表作有20多出，可流傳到今天的只是其中的一小部分。關(guān)于未來，管波中肯地說，最大的愿望就是能夠拋開各種外界的喧囂和干擾，沉下心來挖掘整理一批荀慧生先生留下的老劇目，將荀派藝術(shù)發(fā)揚光大。

Couple誷 Passion for Peking Opera

By Zhang Yonghua

The Poly Theater in Beijing witnessed an unusual Peking Opera concert on the evening of September 3， 2006. The show was unusual on two counts at least. First， it was staged by a wife and husband team. Guan Bo and her husband Zhang Shunxiang are a perfect combination of high-profile Peking Opera artists in Beijing. Second， it was not just a wife-singing-and-husband-accompanying-on-the-Jinghu* concert. It was a Peking Opera musical gala. Four major pieces played by a symphony orchestra were composed by the versatile husband.

Like many accomplished Peking Opera artists， Guan seems to have had a good smooth career from the very beginning.She seems to have everything going her way to become a successful Peking Opera artist. Her good looks and physical beauty looks were predestined for the stage; her voice is sweet and her interpretation of characters always accurate and enjoyable. Though her success can be attributed to the important teachings from many masters， her personality is also a key contributing factor. A light-hearted girl loving to laugh， she was fond of singing and dancing in her childhood years. When a Peking Opera school in Yingkou in northeastern China’s Liaoning Province came to pick budding talents at the primary school where she was studying， Guan， though without any idea of what Peking Opera really was， signed up for an aptitude test， thinking that singing and dancing was all the Peking Opera would take. She participated in the test without her parents?prior knowledge. After learning she had passed the test and she wanted Peking Opera as her life goal， her parents agreed to let her try.

But a life of singing and dancing happily ever after did not materialize as she had imagined. Learning the professional art of Peking Opera at the school was hard and rigorous. For the first half year， the little girl cried frequently， trying hard to adjust herself to the opera reality and her new life. When her parents asked her if she wanted give up， she replied in a blunt “No? One day， while bending down in practice， she bumped her forehead into the concrete ground and later the cut became infected. When her mother came to the school for a visit， Guan hid away so that her mother would not see the cut. A girl eager to excel， she persisted and began to excel. At 13， she appeared in a performance in Beijing staged by her school’s troupe. Her sensational success paved a smooth way for her career. Over years， she was enrolled into the National Academy of Chinese Theater Arts. Now she is a class-one state artist with Beijing Peking Opera Theater.

In a way， Zhang Shunxiang’s career has resembled that of his wife. An accompanist， he went to the same school where Guan started her career. It was at the school that the young Zhang and Guan fell in love with each other. He later studied his accompaniment art at the same academy in Beijing. Now he also works as a class-one state artist for the Beijing Peking Opera Theater.

The wife and husband complement each other. A perfectionist， the husband often films the wife’s performance and then they go through a video session to study for improvements. He also acts as his wife’s fashion advisor.

Zhang Shunxiang is more than an accompanist. The versatile musician is also good at playing flute， yueqing， and suona， which are traditional Chinese musical instruments. And he composes. Their house is well decorated， exuding an air of modernity and suggesting nothing of Peking Opera except for their dress room where colorful costumes are stored. Their basement studio， however， suggests everything about their shared career. The high tech studio is equipped with a great variety of professional-level audio and video instruments. The couple often works there into deep night. Nowadays， the couple runs a company to market Peking Opera.

Guan and Zhang’s successful Peking Opera concert was only one part of the couple’s endeavors to promote Peking Opera. An outstanding Xun-Huisheng-style Peking Opera artist， Guan Bo is enthusiastic about the promotion of the operatic excellence. Because of her mastery of Peking Opera and delightful personality， many people have become her friends and then become fans of Peking Opera. She has successfully emceed many Peking Opera promoting activities in higher-education institutions in Beijing. She spares no efforts to take part in promotional Peking Opera tours across the country. Though she has done quite well in the Xun-Huisheng style and staged many of her master’s plays， she wants to do more to keep her master’s repertoire of more than 300 plays alive.

*Jinghu: a two-stringed Chinese fiddle exclusively for Peking Opera

(Translated by David)