孤獨,是創造的開始

:::

2009 / 9月

文‧陳淑美



魏海敏的師弟、國光劇團導演李小平認為,「魏姐」因於對京劇的使命感,這幾年一直在走一條深探之路。

「她的藝術生涯明確、聚焦,從科班懵懂時期就一路高標準。」比方說,過去有一陣子,魏海敏對自己的發音不滿意,兩岸交流沒多久,就到香港去,找老師一字一句地矯正練發音。

有一陣子魏海敏得了演員最怕的「聲帶結櫛」,聲音發不出來,一上台,只要唱到高音,「心裡就直打哆嗦」。很多知名演員在這種情況下都會放棄職業生涯,但她沒有,她在醫生的指導下,努力改變發聲方法、找對的共鳴點,靠著自己的調理,她熬過來了。

許多人認為,魏海敏所以成為今日之魏海敏,幼時境遇、後來的機緣與自我期許,都是原因。

魏海敏的成長背景充滿艱辛,10歲就被送入劇校,長大過程雖然不乏父親與姊姊的關愛,但2歲時母親離家,15歲時最疼她的父親又遽逝,魏海敏很早就知道,任何事情靠不了別人,「如果不能掌控自己的命運,必須受別人控制,那是多痛苦的事!」

「特別是藝術這東西,只能在『台上見真章』。演員一上了台,就他一人孤伶伶的,誰都沒法幫他。藝術不是靠『做人』或『說』出來的。舞台藝術的奇妙,就在那一點點方寸之間,決定了一個演員的價值,」她說。

也許就是這種體認,使得魏海敏應付舞台壓力的能耐超強。

經常挑大樑演戲,再大的壓力如何排解?李小平曾問過魏海敏這問題。

「魏姐總說:『能不睡嗎?』這裡面有兩層涵義:一是一個專業演員對觀眾的承諾,天大的事,上台前她都要放下,讓自己睡著好好休息;二是一個專業演員對自己的自信,再大的壓力,只要上台,她都有能力迎刃而解!」

魏海敏是台灣戲曲界公認抗壓性最強、自律性最高的演員。她的生活規律簡單,不煙不酒,飲食養生。平常日子,刺激的、辛辣的,或是雜七雜八的零食,凡是不利聲帶及演出的一律不吃,生活裡最開心的事情,就是沒演出的時候,可以開開心心吃一碗刨冰。問她如此清心寡欲的日子可會乏味?「習慣了,連這類的疑問也不曾發生了,」她這樣回答。

五光十色的當代裡,傳統藝術變成了小眾,在舞台上這麼努力的魏海敏會不會有寂寞之感?她的回答很超然。

「現在這時節,年輕人不認識傳統藝術很正常,知道反而是反常的。目前的情況是需要有人引進門,就像好的古書得要有人引導,年輕人才會去看,」魏海敏說,「我希望當那個引導者。」

「偶爾,真的會有一絲遺憾,怎麼大家都不珍惜這麼好的東西了?但是我不悲觀,因為強迫人家來珍惜也是沒用的。我寧願保有那一絲絲的孤獨感,因為,孤獨,或許就是藝術的源頭,也是創造的開始,」魏海敏說。

相關文章

近期文章

EN

Creation Begins in Solitude

Jackie Chen /tr. by David Smith


Li Siaopin, rehearsal director of the GuoGuang Opera Company, opines that "Big Sister Wei" (a respectful term indicating the fact that she has been in the theater world longer than him) has embarked on a voyage of discovery, spurred on to it by a sense of mission as a Peking Opera performer.

"Throughout her entire artistic career, she has never been one to compromise. Beginning with her school days, she always held herself to a high standard." In years past, for example, Wei was unsatisfied with her pronunciation of the language of Peking Opera, so not long after they started allowing people to travel to the mainland she went to Hong Kong to have a teacher correct her pronunciation, one character at a time.

Wei was afflicted for a time with vocal cord nodules, the scourge of singers everywhere. Her singing was hampered, and she got panicky when it came time to hit the high notes. Many famous performers have retired from the stage after developing vocal cord nodules, but not Wei. Under the guidance of a physician, she worked to change her vocalization technique and find the right resonance spot. In the end she was able to make the necessary adjustments and overcome the problem.

Many feel that Wei has gotten where she is today because of childhood experiences, some fortuitous events, and her determination.

Wei had a tough childhood. She did have the benefit of a loving father and older sister, but her mother abandoned the family when she was two years old, and Wei was packed off to board in the theater school at age 10; then her father passed away when she was 15. Very early on, Wei came to understand that you can't depend on others for anything. "If you aren't in charge of your own destiny, then you will be controlled by someone else, which is horrible!"

Says Wei: "In the performing arts, you get up on the stage and it's all up to you. You're all alone, and no one can help you. You don't get any special favors from anybody, and you can't bullshit your way through. The incredible thing about the performing arts is that your worth is determined in a tiny little swatch of real estate."

Perhaps it is this understanding that makes Wei so very resilient under the pressure of the stage.

One can't help but wonder how she bears up under the pressure, particularly given the fact that she always plays a lead role. Li Siaopin once asked her that very question.

"Big Sister Wei always says: 'Can a person go without sleep?' She means two things by that. First, a performer's commitment to her audience is extremely important, so before taking to the stage she has to set everything aside, go to sleep, and get rested. Second, a professional performer is confident in herself, so no matter how great the pressure, she knows that once she gets up on stage everything will work out just fine."

Of all the performers in the Taiwan theatrical community, Wei is acknowledged to be the toughest under pressure, and the most self-disciplined. She lives by a few simple rules: no smoking, no alcohol, and only healthy eating. She eats nothing spicy, and avoids junky snacks and anything else that would affect her vocal cords and acting. Her biggest indulgence is a bowl of shaved ice on days when she doesn't have to perform. Asked whether such an ascetic existence doesn't ever get boring, she responds: "I'm used to it. The very thought of boredom has never even occurred."

Amidst today's glittering affluence, the audience for traditional arts has dwindled to a small minority. After pouring her life's blood into the theater, does the situation leave Wei feeling lonely at all? She is philosophical about it.

Says Wei: "It's natural these days that young people aren't familiar with traditional arts. It's strange, in fact, when a young person is familiar with them. If you get into the traditional arts any more, it's because someone has brought you in. It's just like classical literature-young people aren't going to read it unless they're guided to it. I would like to be that guide."

She adds: "Every now and then I do feel a twinge of regret that people don't care about something so wonderful. But I remain upbeat, because you can't force things on people. I'd rather hold on to that bit of loneliness, because solitude may just be the fountainhead of art, and the beginning of creation."

X 使用【台灣光華雜誌】APP!
更快速更方便!