初春，北京石景山區(qū)大街上華燈高照，一輛紅色小轎車夾在滾滾車流中向公主墳方向駛?cè)ァ＾I車通過(guò)衛(wèi)兵的檢查，停在中央電視臺(tái)半圓形廣場(chǎng)上。接著，一位身材修長(zhǎng)的女子走下汽車，輕盈地進(jìn)入CCTV彩電中心。她就是應(yīng)邀來(lái)中央電視臺(tái)“藝術(shù)人生”節(jié)目作嘉賓的著名影視演員何晴。

裝飾華麗的CCTV演播大廳內(nèi)各種燈具閃爍著不同的色彩，大廳一側(cè)早已坐滿了許多特邀觀眾。當(dāng)節(jié)目主持人朱軍開始采訪后，何晴便向廣大觀眾講述了自己經(jīng)歷的那條漫長(zhǎng)的藝術(shù)之路……

何家有女愛(ài)文藝

1964年1月，何晴出生在浙江省江山市前圳一條普通小巷里，父親何佩琳，原是江山縣體委的干部，后來(lái)當(dāng)過(guò)小學(xué)老師和江山酒廠的技術(shù)科長(zhǎng)；母親吳先玉是湖南湘西苗族人，出生在一個(gè)軍人家庭，16歲隨軍到江山后進(jìn)入江中讀書，后來(lái)與何佩琳結(jié)識(shí)、結(jié)婚，生下了何晴……

兒時(shí)的何晴長(zhǎng)得眉清目秀，天真活潑，誰(shuí)見(jiàn)了都喜歡她，保姆每天抱她回家時(shí)，經(jīng)常因街上有人逗她玩而“晚點(diǎn)”。5歲那年她進(jìn)入城關(guān)幼兒園，歌唱得好，幼兒舞蹈更是拿手好戲，這段歲月是何晴過(guò)得最舒心的日子。

轉(zhuǎn)眼間到了7歲，何晴進(jìn)入江山市解放路小學(xué)讀書。那時(shí)正處在“文革”中期，人們的文化生活極為單調(diào)，從小就愛(ài)好文藝的何晴，只能經(jīng)常看老掉牙的8個(gè)樣板戲。有一次，江山電影院放映朝鮮寬銀幕故事片《賣花姑娘》，片子是“跑片”輪流放映的，待輪到江山電影院放映時(shí)，已是凌晨三點(diǎn)鐘，何晴坐在前排津津有味地看到天亮。當(dāng)她不聲不響地回到家時(shí)，母親還以為她今天起得特別早哩，忙讓她吃了早飯背上書包去上學(xué)?？伤坏搅税嗬锞蛠?lái)“戲”了：何晴屁股剛挨到凳子上就搖搖晃晃打起瞌睡來(lái)，為這事她吃了老師的一頓批評(píng)。可她后來(lái)還是照樣堅(jiān)持有戲有電影就看，因?yàn)樗矚g文藝了！

有一次。母親用節(jié)省下來(lái)的錢給何晴買了一雙新鞋，她沒(méi)穿上兩周鞋尖就破了。經(jīng)母親一查問(wèn)，方知何晴看了《白毛女》《紅色娘子軍》后學(xué)起了芭蕾舞，把鞋尖也跳破了。母親又氣又好笑，她叫何晴脫掉鞋子，何晴就干脆赤著腳在房間里翩翩起舞。

何晴傾心唱歌跳舞，考試分?jǐn)?shù)不理想，父母親都很著急?！拔覀兊呐畠簩?lái)也許在文藝方面會(huì)有些出息，還是把她轉(zhuǎn)到江山中學(xué)文藝班學(xué)習(xí)吧。”一天晚上，何晴的母親躺在床上與丈夫商量道?！澳蔷驮囋嚳??！焙吻绲母赣H同意了。

在文藝班里何晴如魚得水，唱歌、跳舞都是班上的“種子選手”，每次演出不是主角就是節(jié)目主持人，顯示出與眾不同的藝術(shù)才華。她演唱的評(píng)彈《蝶戀花》，還被錄音灌了唱片，這在全縣學(xué)生中算是破天荒的。當(dāng)廣播里播送何晴演唱的評(píng)彈《蝶戀花》時(shí)，何晴的母親簡(jiǎn)直不相信自己的耳朵。更令何晴父母高興的是，隨著何晴藝術(shù)上的長(zhǎng)進(jìn)，也激發(fā)了她在學(xué)習(xí)上的積極性和自信心，她的學(xué)習(xí)成績(jī)終于慢慢趕上來(lái)了。

“四堂會(huì)考”進(jìn)入演藝圈

正當(dāng)何晴在藝術(shù)之路上邁出一步時(shí)，一個(gè)機(jī)遇闖進(jìn)了她的生活：1977年初春，浙江昆劇團(tuán)將招考一批表演班的學(xué)員。根據(jù)招考條件，學(xué)員身高要在1.5米以上，可惜何晴身高與標(biāo)準(zhǔn)僅差3厘米，所以老師就沒(méi)有通知何晴參加招考。不過(guò)何晴的母親覺(jué)得這是個(gè)機(jī)會(huì)，即使身高稍差點(diǎn)也應(yīng)該讓女兒去試一試。于是，她帶著何晴找到文藝班的老師，要求讓何晴到杭州去“碰碰運(yùn)氣”。

第二天早晨年僅13歲的小何晴帶著母親從同事那里借來(lái)的20元錢，帶上干糧、茶水，懷著一顆火熱的求藝之心興沖沖地登上開往杭州的列車。這是她第一次出遠(yuǎn)門，在車上呆了7個(gè)小時(shí)才到達(dá)杭州，不料剛走出站門，就被潑了一盆冷水：

“何晴，考試太難了，考的人很多，錄取的標(biāo)準(zhǔn)非常高，我們20多個(gè)同學(xué)沒(méi)有一位被錄取，大家都準(zhǔn)備回家去了。”到車站接她的同學(xué)見(jiàn)面就說(shuō)。何晴聽了心頭不免涌上苦澀和失望，到住地后何晴對(duì)帶隊(duì)的老師說(shuō)：“既然來(lái)了，我總想去試一試?！?/p>

當(dāng)天晚上帶隊(duì)的老師領(lǐng)著何晴和兩位男同學(xué)來(lái)到浙江昆劇團(tuán)著名演員沈世華家里，見(jiàn)面后，老師叫何晴在客廳里先唱個(gè)歌聽聽，何晴雖然心里有點(diǎn)緊張，但她鼓足勁兒富有感情地唱了一曲《送軍鞋》，優(yōu)美的歌聲把沈老師也唱得三分醉了。

“還能唱點(diǎn)別的嗎？”沈老師親切地問(wèn)何晴。“行。”何晴自信地點(diǎn)了點(diǎn)頭。

“我失驕楊君失柳……\"何晴亮出了“傳統(tǒng)保留節(jié)目”：為毛主席詩(shī)詞譜曲的評(píng)彈《蝶戀花》，她唱得委婉動(dòng)情，催人淚下。

“唱得好啊，唱得好！”沈老師高興地把雙手往沙發(fā)扶手上一拍，起身將何晴拉到身邊，仔細(xì)觀看了何晴的五官、身材、手腳，把何晴弄得怪不好意思的。

“何晴，你明天可以到我們團(tuán)里參加復(fù)試了！”沈世華親切地對(duì)何晴說(shuō)?；氐铰灭^后何晴一夜未眠，她怎么能不激動(dòng)呢？在江山中學(xué)文藝班20多位參試的同學(xué)中，她是唯一通過(guò)面試正式拿到復(fù)試“入場(chǎng)券”的，這是多么不容易?。∷运迪聸Q心，一定要在明天復(fù)試中取勝。

復(fù)試在浙江昆劇團(tuán)排練場(chǎng)舉行，劇團(tuán)的領(lǐng)導(dǎo)和著名演員都到場(chǎng)了。何晴雖然是第一次遇到這樣的場(chǎng)面，但她沉著自如地發(fā)揮出最好的水平，唱歌、跳舞、答辯和基本表演，都博得了老師們的好評(píng)，終于順利通過(guò)了復(fù)試關(guān)，當(dāng)劇團(tuán)領(lǐng)導(dǎo)叫她回去等錄取通知書時(shí)，何晴的臉上露出了勝利的微笑。

然而好事多磨，何晴日夜都在做“演員夢(mèng)”、“藝術(shù)夢(mèng)”，但半年過(guò)去了，錄取通知卻還是杳無(wú)音信。她幾次寫信到浙江昆劇團(tuán)詢問(wèn)，團(tuán)里回信都叫她耐心等待。她耐著性子整整等了一年，終于等到了一張不是錄取通知的通知，團(tuán)里通知她說(shuō)：本次考試是內(nèi)部招生，上級(jí)沒(méi)有批準(zhǔn)，按作廢論處?，F(xiàn)在請(qǐng)你再度來(lái)杭重新參加全國(guó)性的公開考試。

受到命運(yùn)捉弄的何晴沒(méi)有失望，她又按期來(lái)到省城杭州。這一次她住在沈世華老師家里。

“何晴，這次正好北京戲劇學(xué)院、浙江藝校和昆劇團(tuán)同時(shí)招生，你想不想也去參加那兩所院校的招考？”沈老師問(wèn)。“每一個(gè)機(jī)會(huì)我都不想錯(cuò)過(guò)。”何晴認(rèn)真地問(wèn)答。

就這樣，何晴先后參加了3個(gè)單位招生考試。由于她平時(shí)勤學(xué)苦練，基本功扎實(shí)，加上有了上次考試的臨場(chǎng)經(jīng)驗(yàn)，所以她發(fā)揮得一次比一次好。結(jié)果“三戰(zhàn)三勝”，招考的老師都叫她回去等錄取通知。

一個(gè)月后，“綠衣使者”給何晴送來(lái)了浙江藝校的錄取通知書，接著，她又被浙江昆劇團(tuán)錄取。好事成雙，反使何晴父母一時(shí)不知如何是好，最后何晴終于進(jìn)浙江昆劇團(tuán)當(dāng)了演員。

面臨人生大磨難

1978年8月5日，何晴跨進(jìn)了浙江昆劇團(tuán)的大門，成為該團(tuán)表演班的一名“候補(bǔ)演員”。十四歲的何晴，從進(jìn)團(tuán)的第一天起她就把全部精力投入到學(xué)藝之中。

為了使唱腔準(zhǔn)確，何晴除了上課時(shí)認(rèn)真跟老師學(xué)唱外，每天早晨五點(diǎn)鐘就起身吊嗓子，或者在收錄機(jī)里插上一盒帶子，一遍又一遍地跟著唱，嗓子啞了就喝一杯“胖大海”茶，夜深人靜時(shí)她經(jīng)常獨(dú)自在練功房里練功，直到把老師當(dāng)天教的一招一式學(xué)會(huì)為止。由于何晴基礎(chǔ)好，又能勤學(xué)苦練，很快成了學(xué)員中的尖子，在她的面前，漸漸呈現(xiàn)出一條寬闊的希望之路，然而，不料一場(chǎng)殘酷的磨難降臨到了何晴的頭上：

那是1980年的一天，何晴在練功時(shí)，不幸左手骨被摔折了，在場(chǎng)的老師和學(xué)員們很快將痛得臉色發(fā)青的她送到附近的一家醫(yī)院里，經(jīng)醫(yī)生將手骨復(fù)位后，上了夾板和厚厚的石膏。何晴原以為休養(yǎng)一段時(shí)間后就會(huì)好的，誰(shuí)知到剝石膏時(shí)，由于最初手術(shù)斷骨沒(méi)有準(zhǔn)確復(fù)位，導(dǎo)致左手臂形成“V”字形，根本就無(wú)法伸直。演員沒(méi)有手，就好比輪船沒(méi)有舵一樣，何晴恨不得將這只“V”形手砍掉重新?lián)Q只好的，但這顯然是不可能的。就在這時(shí)候，團(tuán)里的一位老師以為她的手不適應(yīng)表演，叫何晴去改學(xué)化妝。此時(shí)的何晴已在昆劇表演上傾注了兩年的心血，加上在文藝班上流下的無(wú)數(shù)汗水，如今要她改學(xué)化妝，這是多么大的打擊?。『吻绫鞠胪纯抟粓?chǎng)，但她沒(méi)有哭，在她感到人生困惑的時(shí)刻，父母給她寫來(lái)了一封封長(zhǎng)信，給她以安慰和鼓勵(lì)，老師和同事也給了她許多關(guān)愛(ài)。不久何晴的父親打聽到浙二醫(yī)院主治醫(yī)師周炳輝教授是省里著名骨科專家，曾替美國(guó)政府的一位要員看過(guò)病，于是何晴的父親便陪何晴到周教授那里求醫(yī)。

周教授不愧為名醫(yī)，在她的精心治療下，何晴的斷臂奇跡般地“復(fù)活”了。

何晴回到團(tuán)里后，她奮起直追補(bǔ)上了所有的科目。功夫不負(fù)有心人，1983年夏天，何晴在畢業(yè)的藝術(shù)考試中取得了優(yōu)秀成績(jī)，在藝術(shù)之路上顯露出一抹新曙光。

奮力走紅影視界

那是一個(gè)晴朗的上午，香港三洋公司的華山導(dǎo)演一行來(lái)到浙江昆劇團(tuán)，他們正在為電影《少林俗家弟子》找演員。剛從練功房里出來(lái)的何晴悄悄走進(jìn)會(huì)議室，只見(jiàn)團(tuán)里的演員多數(shù)已坐在那里，尤其是表演班剛“出師”的同學(xué)們，一個(gè)個(gè)打扮得漂漂亮亮在等待導(dǎo)演的挑選，何晴便趕緊找了個(gè)角落的位置坐下。

剛剛練功的何晴身穿一套運(yùn)動(dòng)衫，勻稱的身材充滿著青春的活力，氣質(zhì)文靜高雅，雖然她坐在角落里，卻一眼就被華導(dǎo)演選中了。

何晴在《少林俗家弟子》影片中飾演了一個(gè)機(jī)智勇敢的少女小琴，雖然她頭一次“觸電”，但由于她虛心好學(xué)，準(zhǔn)確地把握住了人物的性格，演活了這一角色，得到導(dǎo)演的好評(píng)。爾后機(jī)會(huì)接踵而來(lái)，當(dāng)何晴拍完《少林俗家弟子》后在北京火車站準(zhǔn)備乘火車返回浙江，當(dāng)她從軟席候車室走往月臺(tái)時(shí)。正巧被電視連續(xù)劇《西游記》的導(dǎo)演楊潔看到了，這段時(shí)間楊導(dǎo)演正想找一個(gè)觀音戲弄豬八戒那場(chǎng)戲中的三仙姑，她感到何晴的外貌、身材、氣質(zhì)正和劇中人物的要求吻合。楊導(dǎo)演馬上從后面趕上去，可何晴已悄然上了車，楊導(dǎo)演急忙連找了幾節(jié)車廂都不見(jiàn)何晴的蹤影，她只好為此嘆息。真是無(wú)巧不成書，車在中途時(shí)何晴到餐車?yán)锍晕顼?，此刻又正好遇上《西游記》劇中扮演孫悟空的演員六小齡童章金萊：

“何晴，你到北京做啥？”

“拍電影呀！你呢？”

“我去外景地拍《西游記》。對(duì)了，我們楊導(dǎo)演正想找個(gè)女演員演三仙姑哩，我看你挺合適的。”章金萊突然像發(fā)現(xiàn)了“新大陸”。

“真的嗎？”何晴問(wèn)。

“猴哥說(shuō)的一字不差，不信我?guī)闳?。”站在一旁扮演豬八戒的演員馬德華說(shuō)。

章金萊亮了一個(gè)走路“猴招”，與“老豬”一道像牽“白龍馬”似的把何晴帶到了楊導(dǎo)演的軟臥車廂里。

“楊導(dǎo)演，俺老孫兄弟給你把‘三仙姑’找來(lái)了”。

正在看電視分鏡頭劇本的楊潔一見(jiàn)何晴，便興奮得叫起來(lái)：“真是踏破鐵鞋無(wú)覓處，得到全不費(fèi)功夫。天啦，你是從什么地方鉆出來(lái)的？你可把我找苦了！”

楊潔詢問(wèn)了何晴的一些情況，并叫她在車廂里當(dāng)場(chǎng)表演了一個(gè)小片斷后，就拍板讓何晴參加《西游記》劇組，扮演劇中的三仙姑。

1987年，何晴又被電影《紅樓夢(mèng)》的導(dǎo)演謝鐵驪選中，在劇中飾演一個(gè)多情又不幸的人物秦可卿。雖然秦可卿在《紅》劇中不是主角，戲并不多，但何晴憑著自己優(yōu)良的演技，把豪門出身的少婦秦可卿演得惟妙惟肖，在觀眾中留下了深刻的印象。此后，她又在大型電視連續(xù)劇《三國(guó)演義》《水滸》中分別飾演小喬和李師師。能在四部中國(guó)古典文學(xué)名著大型電視連續(xù)劇中都扮演角色，何晴是中國(guó)影視界唯一幸運(yùn)兒。

1989年，是何晴開始走紅的一年。身為影、視、劇“三棲演員”的何晴來(lái)到上海電影制片廠，參加了由著名作家阿章同名小說(shuō)改編的電影《上海舞女》的拍攝。在劇中她飾演了20世紀(jì)30年代一位飽受辛酸、令人同情的紅歌女白黛林，接著又在電視劇《紅伶淚》中飾演越劇名伶筱丹桂。為了當(dāng)好主角，何晴在開機(jī)前閱讀了大量介紹筱丹桂的資料和分鏡頭劇本，走訪了越劇界的老前輩，全面了解筱丹桂坎坷的一生。同時(shí)，她把與昆劇相關(guān)的表演技巧自然地移植到《紅》劇中，充分表現(xiàn)了筱丹桂的豐富思想感情和深厚的藝術(shù)功底，從而深化了全劇的主題。此外，她還在《鶯燕桃李》《李師師》《公寓》《姐妹情仇》《李自成》等影視劇中成功地塑造出一批感人的藝術(shù)形象。

1992年春節(jié)前夕，何晴應(yīng)臺(tái)灣著名女作家瓊瑤的邀請(qǐng)，參加了湖南電視臺(tái)和臺(tái)灣可人公司合拍的電視連續(xù)劇《青青河邊草》拍攝，飾演劇中女主角華又琳，何晴的精湛表演藝術(shù)，博得編劇瓊瑤和丈夫平鑫濤、導(dǎo)演沈怡和陳中維的稱贊。

何晴如今已過(guò)了不惑之年，但仍活躍在影視舞臺(tái)上。1996年在北京電影制片廠攝制的影片《歌手》中，何晴與李亞鵬、胡軍等擔(dān)任了主演，她在劇中成功扮演了第一主角阿蘭，從而奠定她在國(guó)內(nèi)影視劇中飾演清純角色的地位；1999年何晴在《澳門的故事》劇中扮演了一位中西混血兒的女性歐迪亞，她較好地表現(xiàn)了一位既有西方人豪爽、又有東方人含蓄的雙重性格角色；2003年她又出演了一個(gè)極具挑戰(zhàn)性的角色——雙槍老太婆。從雙槍老太婆年輕時(shí)開始一直演到她上山打游擊、營(yíng)救江姐、擊斃叛徒甫志高和參與地下活動(dòng)，全面展示了一位革命女性的英雄業(yè)績(jī)。2005年，她與香港影星曾志偉在電視連續(xù)劇《浪擊天涯》中，扮演一對(duì)恩愛(ài)夫妻，被觀眾稱為“真、善、美的杰作”。2006年，她又和著名演員任泉主演了電視連續(xù)劇《誰(shuí)知我心》，出色地扮演了一位來(lái)自農(nóng)村的媳婦和母親，給人留下了一位心地善良的女性形象。

He Qing’s Journey to Stardom

Xu Zhongyou

Not so many showbiz celebrities get their chances to review his or her career highlights at Art and Life， a popular primetime program of CCTV. In the early spring this year， He Qing， a preeminent actress from Zhejiang Province， talked about her art and life at the country’s largest television network. The appearance at the program serves as recognition of her legendary accomplishments.

He Qing was born in January， 1964 in an ordinary house of an ordinary family in the city of Jiangshan in southern Zhejiang Province. But nothing was ordinary about her even as a baby. She was a beauty and everyone liked her. Whenever her nanny took her to the street， people were unable to tear their eyes from her. She was a singing and dancing star at her kindergarten. As her primary school years coincided with the Cultural Revolution (1966-1976)， her only exposure to art was barely more than so called eight model plays of Peking Opera and ballet. That explained why she stayed up one night to see Flower Girl， a DPRK film， at three o’olock in the early morning when the film came to town and came home at dawn. Seeing the daughter yawning at breakfast， her mother wondered why the daughter got up so early this particular morning. When her new pair of shoes showed holes in barely two weeks， her mother found that the little girl had been imitating some ballet movements all the time. The parents decided that He Qing could have a better future if she studied arts in a special class at the local middle school.

So He Qing transferred to the class. Her talent began to blossom. She was the only middle school student in the county who got her Pingtan singing of Butterfly in Love with Flowers， a Ci-poem written by Mao Zedong， recorded and broadcasted.

In the early spring of 1977， Zhejiang Provincial Kunqu Opera Troupe was recruiting promising youngsters to train for a professional career. The head teacher of the special class did not let He Qing take the aptitude test in Hangzhou， the capital seat of the province， simply because her height was 1.47 meter， three centimeters short of the requirement. When He Qing’s mother learned of the recruitment test， she persuaded the teacher to let her daughter try her luck.

So the 13-year-old He Qing traveled 7 hours by train and arrived in Hangzhou only to find that none of her 20 some classmates had passed the preliminary test. The classmate picking her up at the railway depot reported that there had been a big crowd of candidates and the test was extremely tough.

That night， He Qing went to the home of Shen Yuanhua， a teacher with the troupe. She sang two songs and her potentials took the experienced teacher by surprise. The next day， He Qing took the final test and passed. She was told to wait at home for the acceptance notice. A year passed and the acceptance notice did not materialize. Instead， she received a letter from the troupe saying that the recruitment had been canceled for some red-tape reason. But her talent and potentials were not forgotten. The troupe asked her to appear for a new test， which had been officially approved and was open to candidates nationwide. This time she was recruited.

On August 8th， 1978， He Qing came to the Zhejiang Kunqu Opera Troupe. Her training started. She worked hard and made rapid progress. But misfortune struck in 1980 when she broke the left arm in a training session. When the cast finally came off， she found to her dismay that the left arm could not stretch straight as the result of some mistake in the bone operation. This was a blow to her budding career and a teacher in the troupe even suggested that she give up the performance career and learn to be a makeup girl for other performers. Her father came to Hangzhou and took the daughter to Professor Zhou Binghui， a celebrated orthopedist in another hospital in Hangzhou. He Qing’s arm got straightened out miraculously. In 1983， He Qing graduated from the training course with excellent scores.

However， He Qing made her name known across the country not in any performance of Kunqu Opera， but in cinema. In 1985， she debuted in Disciples of Shaolin Temple， a Kongfu film produced by a Hong Kong-based film studio. Her successful appearance in the film opened a door to more films.

On a train journey back to Hangzhou after the film shooting was completed in Beijing， He Qing ran into Zhang Jinlai， a well-known Zhejiang-based stage artist who was starring the monkey king in the production of a television series of the Journey to the West. Zhang asked what He Qing had been doing in Beijing. She told him and then Zhang mentioned that the director had tried in vein to find an actress for the role of a fairy in the upcoming episode. Zhang said He Qing looked cut out for the role and took her to the director. It turned out that the director had seen He Qing on the platform in Beijing and thought the girl might be good for the role， but lost her whereabouts in the crowd. He Qing got the offer.

In 1987， He Qing appeared in the Dream of Red Mansion， a film conducted by Xie Tieli， a prominent director of Beijing Film Studio. In 1989 He Qing made her name well known in the country when she starred as the lead woman in Shanghai Dancing Girl， a story about a high-profile social butterfly in Shanghai in the 1930s. She firmly established herself in more films in the following years up to a latest television series in 2006.

Getting her art and life reviewed on a popular national television program does not mean He Qing has only a glorious past to reminisce about. In her forties， He Qing’s future as an actress is bright.

(Translated by David)