文本刊記者 張亞萌 Zhang Yameng 譯曹宇光Cao Yuguang

湯煲好了，筆下也出來了
——何冀平談如何“煲"出好劇本

Writing In Comparison Of Soup Cooking——He Jiping’s Talk of How to Present a Good Script

文本刊記者 張亞萌 Zhang Yameng 譯曹宇光Cao Yuguang

何冀平，提她的名字，不如提她的作品更有知名度——《新龍門客?！贰短煜碌谝粯恰贰缎掳啄镒觽髌妗贰饵S飛鴻》《楚留香》《龍門飛甲》《投名狀》《德齡與慈禧》《甲子園》《明月幾時有》……編劇何冀平明顯屬于作品比本人名氣更大的那一類創(chuàng)作者。談及她的創(chuàng)作，談及北京與香港兩地的文化滋養(yǎng)，她的聲音乍一聽有港普味道，偶爾又露出一點京腔京味。所以，我們也必須和她聊聊香港，再說說北京了。

“香港是我的第二個故鄉(xiāng)”

上世紀(jì)80年代，何冀平中央戲劇學(xué)院戲文系畢業(yè)后，被北京人藝點名要去做編劇。第一個劇就是以香港為背景的《好運大廈》，以一個自內(nèi)地到香港的年輕人的眼光勾連大廈中幾家人的命運，展示80年代的香港生活?！澳菚r候我父親在香港，我有機會去探親，對香港生活很新奇，就寫了一部香港幾家人的故事，講述一個從內(nèi)地來的男孩跟周圍發(fā)生的‘碰撞’。人們對香港好奇，首演80場，買戲票的人擠塌了售票亭子?！?/p>

1989年，何冀平隨家人定居香港。“離開北京時，報紙上有文章：一個離開了自己鄉(xiāng)土文化的作家，還能創(chuàng)作出什么？我自己也很迷茫，在一個連語言都不通的地方，我還能寫什么。”當(dāng)時，她的一個親戚問她寫《天下第一樓》用了多長時間，她說大約三年；對方說：“在香港，你一定會餓死?！薄皝硐愀壑?，從文藝界到家庭環(huán)境、社會地位都算與眾不同，到了香港，一下子跌進低谷，云泥之別?！彼f。

1991年，《天下第一樓》到香港公演。徐克看了演出，連夜做了兩件事，一是吃烤鴨，一是找何冀平，只給她提供了一頁紙的提要，要求一個半月內(nèi)完成?！澳隳馨岩粋€飯館寫得那么好玩，我相信你也能寫好一個客棧。”徐克這樣對她說。

《明月幾時有》海報Poster of the FilmOur Time Will Come

“我一向不太喜歡武俠，徐克找我，是難得的機遇，我一口應(yīng)承，盡快把武俠的書大致翻了一遍，就開始結(jié)構(gòu)劇本，我頭一次寫電影劇本。手段風(fēng)格永遠是外部的，不論是電影還是舞臺，戲劇的基本元素不會變，《新龍門客?！返某晒?，除了武俠片的風(fēng)尚，是有了人物，一兩個獨特性格的人物能帶動整部電影。”的確，在以前都是打打殺殺的香港武俠電影中，何冀平突然加入有個性的人物，加上林青霞、張曼玉、梁家輝的出色演技，令《新龍門客棧》成為華語影史經(jīng)典。何冀平也在香港一戰(zhàn)成名。

1997年，何冀平應(yīng)香港話劇團之邀做駐團編劇，走進香港戲劇主流劇場，第一部《德齡與慈禧》上座率100%，要設(shè)兩排加座，“這時我知道，我在香港不會餓死。從熟悉的北京轉(zhuǎn)戰(zhàn)到香港，從如日初升到從頭做起，我沒有停止創(chuàng)作，反而高速前行，一是正值創(chuàng)作期精力旺盛，二是得遇機遇，三是不肯服輸。27年過去，我依舊兩岸三地應(yīng)邀不止，這連我自己也沒有想到。”

同樣因為在香港，她用計算機比較早，現(xiàn)在寫作離不開計算機?！皩懽魇强菰锏氖?，用筆寫的時候，久久不肯坐下來，計算機能吸引我坐下來，敲鍵盤有快感。”成長在北京，中國傳統(tǒng)文化為她打下根基，香港的商業(yè)化及國際化使她開闊了自己的思路。“我把兩者結(jié)合起來，慢慢形成自己的風(fēng)格，也得到香港社會的認同?！薄拔业较愀鄱ň右呀?0年，30年來我沒有離開本行，香港的生活，文化秩序，香港人的拼搏、敬業(yè)、創(chuàng)業(yè)精神，演藝界從老板到明星，到每一個工作人員的工作態(tài)度都在影響我，溶化在我的創(chuàng)作中，我把自己融入香港社會，社會也接納了我。此心安處是吾鄉(xiāng)，香港是我的第二個故鄉(xiāng)?！焙渭狡秸f。

“藝術(shù)，是最個人化的，但又來不得半點個人”

一邊是創(chuàng)作者對傳統(tǒng)文化的倡揚，一邊香港又上演著包括文化因素在內(nèi)的諸多社會原因造成的亂象，兩相對照，何冀平表示，傳統(tǒng)文化是一個國家的寶，青年人不喜歡國寶，是教育和引導(dǎo)出了問題?！皯n慮之余應(yīng)該是行動。習(xí)主席在中國文聯(lián)十大、中國作協(xié)九大開幕式上的講話專門提到歷史題材的寫作，講得很詳盡，文化藝術(shù)界要重視歷史題材創(chuàng)作，有些歷史題材創(chuàng)作存在些問題。作為編劇，我們有責(zé)任創(chuàng)作適合年輕人觀看、有中國傳統(tǒng)內(nèi)容和形式的作品，讓他們了解自己國家的歷史和傳統(tǒng)是什么，傳承還是靠他們?！?/p>

《曙色紫禁城》是何冀平在香港創(chuàng)作的話劇《德齡與慈禧》的京劇版，講述從西洋歸來的17歲女孩與72歲的慈禧相遇、相交、相知的故事。“我寫的時候，已經(jīng)身處香港這樣一個中西文化既共融又沖突的環(huán)境中，香港人基本都是中西文化的合體，所以我的《德齡與慈禧》得到了香港人的喜愛?！?/p>

原來讓何冀平名動話劇界、被稱為“當(dāng)代現(xiàn)實主義經(jīng)典作品”的《天下第一樓》，也和香港有關(guān)。一些香港的朋友來內(nèi)地旅游，“我也不知道帶他們干什么，就兩樣：爬長城、吃烤鴨。吃的時候，香港人問烤鴨是怎么做出來的，但那時候服務(wù)員一句也說不上來，我開始有了創(chuàng)作的沖動?！焙渭狡街謩?chuàng)作，走遍北京，訪問正宗掛爐烤鴨第三代傳人田文寬，她走入全聚德，開始體驗后廚生活。

劇本幾易其稿，對于結(jié)尾，她想了很久沒有結(jié)果?！霸谌ノ鞅甭吠旧希译S手翻看一本對聯(lián)大全，看到‘好一座危樓，誰是主人誰是客？只三間老屋，半宜明月半宜風(fēng)’，猛然間，一通百通?！边@部被當(dāng)時的北京人藝院長曹禺先生看過五遍連聲稱贊，被譽為一部“硬邦邦的好戲”的《天下第一樓》，甚至滋養(yǎng)了《新龍門客?！返膭?chuàng)作——那個小靼子有一手片羊的手藝，直到最后片人腿、戰(zhàn)勝東廠大頭目，這個情節(jié)就來自“片烤鴨”?！吧顭o處不在，作家要有心、敏感、靈活、應(yīng)變。雖然邀約的題目各式各樣，但我有根本，以不變應(yīng)萬變，不變的就是屬于我個人的，對生活和世界的認知。”種種細節(jié)，都是何冀平對生活的“有感而發(fā)”。

2012年，何冀平又“回歸”北京人藝——為人藝創(chuàng)作話劇《甲子園》?！半x上演還有9個月，張和平找到我，要求這部劇‘北京、現(xiàn)代、原創(chuàng)’，這對離開北京多年的我不是容易事，但人藝的請求，我不能推卻?？赡苁嵌嗄晗愀凵虡I(yè)運作的磨練，我知道這部慶賀60周年的劇本需要什么因素，一稿一千字大綱就得到認可，決定上馬排練?！薄都鬃訄@》請來北京人藝第一代也是第一流的諸位老演員，他們的作風(fēng)品德深深感動著每一個人，成為當(dāng)年的文化盛事?！跋裰炝?，第一天排練，她已經(jīng)背下所有臺詞；藍天野每次上臺，連排練都充滿激情；鄭榕一字一句研究臺詞……人藝精神，又一次在《甲子園》中展現(xiàn)，那些天的人藝前臺后臺，簡直是話劇業(yè)界的楷模。演出后總結(jié)會上，許多人都哭了，這樣的精神實在久違了?！焙渭狡礁锌?，“人藝精神尚存，但有失傳危險。藝術(shù)，是最個人化的，但又來不得半點個人?！?/p>

“有時一下就撞出新天地來”

幾十年秉持人藝人的品格，何冀平也忘不了17歲在延安插隊，開始業(yè)余創(chuàng)作的經(jīng)歷：“演給老鄉(xiāng)看，也娛樂自己?！庇幸淮?，她寫的小話劇在打麥場上演出，汽燈突然壞了，四下漆黑。為了看戲，老鄉(xiāng)們把自己平時舍不得用的馬燈全拿出來，在臺口掛了一排。這個情景使她非常感動；多年來，她的作品在世界各地舞臺演出，但她心中始終亮著那串馬燈。

當(dāng)下由冷門變得火熱的編劇一行，不少青年人以為來錢快、出名快、整天見明星，就是做槍手，寫一集電視劇抵得上普通人一年工薪，擠破頭要入行，何冀平提醒，不要忽略劇本是所有文學(xué)種類中最難的一種?！皩憚”疽鎸瞻椎母寮垼睂懙筋~頭瞪出血來’——每一部創(chuàng)作都不同，沒有前車可鑒，沒有熟路可走，做一個好編劇不是容易的事；得沉得下心，甘于寂寞孤獨，不為利所引，不為名所圖，還要得遇機緣，有明眼人賞識，各種條件具備了，還要看你有沒有真本事?！彼^察當(dāng)下青年編劇的創(chuàng)作，“不能不說寫劇本是要有天分，不是下多少功夫，死鉆死鑿，就能有同等收獲的行業(yè)；這與作者本身的經(jīng)歷、后天的修養(yǎng)、看世界的角度都有關(guān)聯(lián)，如果不是做此行的材料，就不要再去‘瞪出血’了。”何冀平認為，真有潛力的，要下功夫，在實踐中磨練、奮斗，能寫出一兩部有影響的，或傳世之作，才算不辜負一腔苦心，做一個合格編劇。

她憶起老師譚霈生所說的：“做編劇首先拼的是生活，然后是技巧，最后拼的是修養(yǎng)?！薄澳銓懙囊欢ㄊ悄銉?nèi)心感受最深的東西?！彼嘎叮幸粋€十幾層抽屜的柜子，里面放著她同時或做過的作品的素材和寫作過程，希望能有所借鑒，可是從來沒有——“因為每一個創(chuàng)作都是全新的。遇到瓶頸，我會放下不寫，其實是沒有放下，即使是玩、吃、旅行，腦子沒有放下要寫的作品，永遠在心頭。就是因為心里有，隨時遇到的人和事都會觸動，引我聯(lián)想，有時一下就撞出新天地來了?！痹谒膶懽魇澜缋?，也不全是“瞪出血”這么嚇人的事——“香港人喜歡煲湯，我也喜歡喝湯，一大煲五顏六色的材料放在微火上慢慢燉煮，心中五味雜陳，香味飄出來，湯煲好了，筆下也出來了。

Rather than her simple name, Ms. He Jiping enjoys a far”more reputable popularity with her script creations such as filmsNew Dragon Inn, Once Upon a Time in China,Chor Lauheung, The Warlords and Flying Swords of Dragon Gate aswell as playsTop Restaurant in China, The Legend of White Snake, Deling and Cixi,Jiazi HouseandOur Time Will Come. Obviously, she is a typical playwright who focuses on every works in creation. In her narration of her creation and the cultural nutrition she has got from Beijing and Hong Kong, Ms He Jiping uttered her Cantonese-accent Mandarin which sense occasionally we can a bit of Beijing dialect style. In this sense,we must talk about wer experience with Beijing as well as Hong Kong.

'Hong Kong is my Second Hometown'

Upon graduation from Script Department of Central Academy of Drama in the 1980s, He Jiping was hand-picked far admission by Beijing People Art Theatre (BPAT) as a script writer. Her virgin assignment was the dramaGood LuckPlaza in the background city of Hong Kong. Trom the perspective of a youngster who moved from the mainland to Hong Kong, the drama narrated about stories of several households in the same plaza to showcase the city life in Hong Kong in the 1980s. “As my father lived in Hong Kong at that time, I had opportunities to visit him there. Out of my curiosity in people’s life in Hong Kong, I wrote this story of several local households and their interaction with a young boy who moved from the mainland. Thanks to the mainland audiences’ similar curiosity about Hong Kong, all the tickets of the first=rourol 80 performances were immediately sold out and crowds eager to buy a tickets almost collapsed the booking office.” He Jiping recalled.

In 1989, He Jiping migrated to Hong Kong along with her family. “I read an article in a newspaper when I was about to leave Beijing.Its writer wondered what a writer who has left his or her mother culture will possibly present in creation. As to this question, I was actually quite confused then and couldn’t help asking myself the same question.” He Jiping admitted. A relative of hers asked how long she had spent on the playTop Restaurant in China, and at her answer of three years, asserted that she would be starved to edath for such a long preparation if in Hong Kong. “Before I moved to Hong Kong, I enjoyed an outstanding position in literary and art circles,as mellas family background and social status.When I moved to Hong Kong,I experienced the lowest time in my career, both of which constituted a sharp contrast.” she sighed.

In 1991, the playTop Restaurant in ChinaWent on public show in Hong Kong. After viening the this play, Hark Tsui, a bigshot in HK films, dicl two things overnight. One was to take a taste of Beijing Roast Duck, and the other was a personal interview with He Jiping. Providing nothing but a page of outline, Hark Tsui requested her to complete that a full script within one month and a half. “Since you have made such an interesting play of a restaurant, I am confident that you will present a wonderful inn.” Hark Tsui said to her.

“Despite my less interest in swordsman series, I still agreed to his request because it was indeed a precious opportunity for me to go into cooperation with such a bigshot asHark Tsui.Within a short time, I read lots of swordsman novels and started to draft the outline film script for the very first time. Either in films or in stage plays, styles or measures art may vary, but all the basic elements of drama always persist. Besides the fashion of swordsman film, the success of the filmNew Dragon Innwas mainly attributed to couple of living characters whoseunique personality brought along the whole film.” Typical Hong Kong swordsman film used to be full of fierce fights. He Jiping designed some characters of outstanding personality into this new play. Plus the excellent acting by Brigitte Lin, Maggie Cheung and Tony Leung Ka Fai, the filmNew Dragon Innbecame a classic in the Chinese film history and He Jiping gained her reputation immediately in Hong Kong.

In 1997, He Jiping was invited to Hong Kong Repertory Theatre as its standing playwright and then started her exploration into the mainstream theatres in Hong Kong. Her first playDeling and Cixiwitnessed a full occupancy with two rows of additional seats. “Then I realized that I would never get starved in Hong Kong. From my prime time in the familiar Beijing to beginning from scratch in the strange Hong Kong, I never ceased but accelerated my creation. First of all, I was totally energetic during my golden age of creation, Secondly, I seized some rare opportunities And lastly, I never gave in to any difficulty and hardship. Within the past 27 years, I have been busy with constant invitations from the mainland, Hong Kong and Taiwan,which is even far beyond my expectation.” He Jiping said.

As she lived in Hong Kong, she was among the foreranner Chinese playwrights who can use computers.At present, her writings all rely on her computer. “Writing is always boring.When we used pens in writing, a long time might have passed before we could settle down. The computer can attract me to sit down and I can feel the excitement when typing with the keyboard.” The traditional Chinese culture gained during her grown-up in Beijing has laid her a solid foundation, while the commercial and international trends in Hong Kong have opened wp her mind. “In combination of the above treasure, I have gradually formed a style of my own and gained recognition from the local community in Hong Kong. For nearly three decades since I migrated to Hong Kong, I have never been away from my writing. The life and cultural order in Hong Kong, the perseverance, professional commitment and creative spirits of local people, and attitudes of everyone in the performing circles from superstar to ordinary staff have exerted significant influence upon my character and writing. With matual harmony and acceptance between Hong Kong community and me, I have enjoyed a peace of mind here and thus Hong Kong has become my second hometown.” she concluded.

'Most Personalized Art Never Allows Self-will'

On the one hand, there exists artists’ advocacy for traditional culture, and on the other hand, some kind of chaos involving so many social factors such as cultural element still take place in Hong Kong. In reply to this phenomenon, He Jiping held that traditional culture is a national treasure of China and that the reason why youne people dislike this national treasure lies in the problems withothe education and guidance system. “Besides our great concern, action must be taken as well. In President Xi Jinping’s keynote speech at the opening ceremony of the 10th CFLAC and the 9th CWA National Congress, a detailed elaboration has been made concerning the writing of some historical subjects. Chinese literary and art circles must pay close attention to historical subject creation and must realize there still exist some flaw in the current creation. As a playwright,we are responsible for creating works of traditional Chinese contents and formalities, which are prepare to the young people and enable them to understand the history and tradition of their country and recognize their mission for inheritance.” He Jiping held.

As Peking opera version of the dramaDeling and Cixithat He Jiping had created in Hong Kong, the playForbidden City in Dawn Lightprovides a narration of encounter and close relationship between a 17-year-old girl who returned from her study in Europe and America, and Empress Dowager Cixi at the age of 72. “When I took up this writing, I was already within such a context of both harmony and conflict between cultures of China and West as Hong Kong. As Hong Kong people mostly know both cultures, my playDeling and Cixihas gained quite some popularity here.”

As a matter of fact, the playTop Restaurant in China, which has brought He Jiping to fame in drama and has been praised as “Classic Masterpiece of Current Realism”, has something to do with Hong Kong as well. When some of her friends in Hong Kong came to the mainland for tourism, “I had no idea how to show my hospitality to them except two things—visiting the Great Wall and enjoying Beijing Roast Duck. While taking Roast Duck, my friends would ask how the Roast Duck was made, but the waiter in the restaurant was unable to give a single word for explanation. Then the impulse for creation concerning how to make Roast Duck came in my mind.” When she was finally set for this creation, she traveled throughout Beijing for interviews,including that with Tian Wenkuan, the official 3rd generation heir of Roast Duck in Stove. She even began her personal experience in the kitchen of Quanjude, the top brand restaurant of Roast Duck in Beijing.

Despite several drafts in constant change, He Jiping still failed to come up with a perfect ending. “On my way to the Northwest,I came across a collection of Chinese antithetical couplets and found the following lines ‘In such a dangerous place, who will be host and guest? Those three old mansions accommodate bright moon and breeze’. Within an instant, I was totally enlightened as to the ending.” Mr. Cao Yu, then president of BPAT, gave high acclamation even after five times of viewing and called thisplay as “a watertight masterpiece”. This play even added more charm to the creation of the later film New DragonInnas the setting of that Manchurian swordsman who could slice lamb and even human legs into pieces drew inspiration from “slicing Roast Duck”. “Life fills all our spaces. A writer must be mindful,sensitive, flexible and ready for changes. Though solicated subjects vary greatly, I have my fundamental solutions in return,which are my personal knowledge and experience of life and the world.” All the details in her writing come from her genuine experience of life.

In 2012, He Jiping was commissioned to create the dramaJiazi Housefor her temporary return to BPAT. “When there were only 9 months left before the official debut, Zhang Heping, then president of BPAT, came to me and reiterated his requirement on the three features of the drama—Beijing, contemporary and original. Though it was not an easy job for me, I had no reason to refuse their request. Probably thanks to my years of experience in commercial management in Hong Kong, I was fully aware of the key elements in this prospective script in celebration of the 60th anniversary of BPAT. Upon recognition of my outline of merely 1000 words, BPAT was determined to rehearse it as soon as possible.” Many senior actors and actresses of the 1stgeneration of BPAT, in the first-class artistry as well, were invited into this play Their professional virtues deeply touched everyone in production, which became a cultural phenomenon at that time. “For example, Zhu Lin mastered all her lines by heart on the first day of rehearsal, Lan Tianye was invariably filled with passion on stage and Zheng Rong studied his lines by words and by sentences. The professional spirit of BPAT was fully demonstrated in this play and all those actors and actresses of BPAT on the front and back stages became models of Chinese drama. Many people were moved to tears in the summary meeting after the performance, because such spirit was so precious.” He Jiping sighed, “Such spirit still remains but it is already at the risk of extinction. Art might be the most personalized profession, but it never allows self-will”.

New Horizon in my Artistic Creation

For decades, He Jiping has maintained her professionalism of BPAT and she never forgets her experience as an amateur playwright when she worked in the countryside of Yan’an at the age of 17. “Our plays wereshown to our fellow farmers, and became our own entertainment as well.” Once her mini-drama was in the course in a threshing square when the gas lamps were out of order and of complete darkness. To watch the plays,farmers brought out all of their barn lanterns that they were reluctant to use at ordinary time, and hung them in line before the stage, which has a touching scene in her mind forever. many years, her works have been presented on varied stages all over the world, but that line of barn lanterns always shine in her heart.

Currently, screenplay has changed from an unpopular position into a popular profession, and quite a few young people take it for granted that a playwright enjoys such advantages as earning quick money, gaining quick fame and associating with superstars easily. Even as a substitute playwright, the payment for a single episode of TV drama will equals a worker’s annual wage. In this case, they try their utmost efforts in spite of reality. As He Jiping reminds, script creation might be one of the most difficult types in literature. “To compose a script, the playwright shall face the blank sheets in the beginning, and maed endeavors until the blood almost bursts out of his or her forehead skin. As every creation in literature varies and there is no ready lessons to refer to, short cuts to take, it is by no means an easy job to be a good playwright. A qualified playwright must settle down in the loneliness without being attracted by fame or profits,and be fortunate to be recognized by wise producers. With all prerequisites satin fied, he or she must depend on his or her talent.” According to He Jiping’s observation of the current script creation by young people, “I’m obliged to admit that a playwright must be a genius. Two playwrights’ equivalent efforts but at different levels result in different outcomes The authors’experience, accomplishment and perspective of the world outlook. If you happes to be an unqualified playwright, even the blood running out of his orher forehead skin makes no sense.”As far as He Jiping can see, those of great potential must make painstaking efforts in practice before they come up with one or two scripts of great influence, and even legend that will bring their dreams into reality only these works make them qualified.

He Jiping still remembers a sentence by Tan Peisheng, her tutor,“playwrights compete with each other firstly on life experience,secondly on writing techniques and lastly on personal refinement”. “What you have written must be something that you feel more profoundly at heart.” As she told me, she kept a cabinet of dozens of drawers within which she placed her draft materials and writing process for future reference. However, she hasn’t used any of them yet. “Because every writing is a brand new process. On the occasion of bottleneck, I will suspend my writing. As a matter of fact, I never suspend writing in my mind even in times of entertainment, delicacy and travel. Bearing this point in mind, the persons and stories that I have come across will probably lead to further inspiration and even a new horizon in my artistic creation”. Certainly in her writing world, there are far more occasions than the scary scence of “blood in forehead skin”. “Like many local people in Hong Kong, I like savoring soup. With a big pot of colorful materials stewed slowly, I can sense the complex of varied feelings. As the fragrance wafts out of the pot, the soup as well as my writing is ready”.