對唱兩岸平劇群英會

:::

1993 / 7月



整個四、五月裡,此地平劇的天空非常的地「大陸」。「北京京劇院」、「中國京劇院」兩支執大陸京劇牛耳的超級劇團來台做了卅多場演出,挾梅葆玖、袁世海、杜近芳等大師級演員及諸多名家之後的號召下,台灣觀眾既新鮮又懷舊地湧入劇院。媒體也在一旁推波助瀾,給了滿堂彩。

粉墨登場、風光台上;謝了幕、散了戲,大陸藝人一樣滿腹苦水:感嘆觀眾老化,演出機會少,導致團員四處「走穴」(兼差)。顯然大陸的京劇環境也不是本地觀眾想像地蓬勃。

大陸劇團大舉來台,本地演員有的哀歎往後可「沒戲唱了」;有的則是隔海取藝、義勇迎戰。看看對方、想想自己,我們感嘆大陸有一流師資,大陸覺得台灣觀眾水平高。互相羨慕之餘,或許藉由兩邊演員的戲劇生涯,可一窺兩岸平劇的不同基調。

吳興國、于萬增相差五歲,一個曾是陸光劇隊的當家武鬚生,一個是中京院一級小生演員。兩人都是終日鑼鼓為伍、半生心繫於平劇。

去年底吳興國毅然揮別軍中劇隊,赴香港拍電影,又接拍多支廣告影片。于萬增則是第一個來台登台演出的小生,兩人都在有侷限的平劇環境中,登上和同行不一樣的舞台。

相關文章

近期文章

EN

Two-part Harmony--Peking Opera Artistes on Both Sides of the Straits


Throughout April and May, the world of Peking Opera in Taiwan took on a thoroughly "mainland" flavor. Two great opera troupes the Beijing Peking Opera Company and the China Peking Opera Company, which are Mainland China's acknowledged leaders in Peking Opera came to Taiwan to give over thirty performances. Attracted by such "Great Master" grade performers as Mei Baojiu, Yuan Shihai, Du Jinfang, and many children of great stars of the past, Taiwanese audiences packed the theaters, filled with a sense of both novelty and nostalgia. With the help of an attendant media build-up, the tours were a resounding success.

On stage, under the bright lights, everything was glamorous, but when the audience had gone home after the last curtain call, the mainland artists all told the same sad story of aging audiences and a dearth of opportunities to perform, which are forcing actors everywhere to go "moonlighting." Clearly the environment for Peking Opera on the mainland is not as flourishing as audiences here in Taiwan imagine.

The mainland troupes' descent en masse on Taiwan has aroused mixed feelings among local artists. Some complain that there are "no pieces left to put on"; others are eager to learn from their colleagues from across the water and boldly take up the challenge. Each side looks at the other and compares it with itself. Artists from Taiwan envy the training of the mainland performers, while the mainlanders admire the quality of Taiwan's audiences. But apart from mutual envy, perhaps by examining the careers of performers from both Taiwan and the mainland, we can understand the different environments for Peking Opera on the two sides of the Taiwan Strait.

Wu Hsing-kuo and Yu Wanzeng are five years apart in age; one was formerly the Lu Kuang Chinese Opera troupe's leading performer of wuhsusheng (older male acrobatic roles), while the other is a Grade 1 performer of hsiaosheng (younger male roles) at the China Peking Opera Company. Both of them have devoted their lives to Peking Opera, their days accompanied by the sound of gongs and drums.

At the end of last year, Wu Hsing-kuo resolved to leave the army opera troupe and went to Hong Kong to act in films, also taking parts in several adverts. Yu Wanzeng was the first mainland artist to perform a hsiaosheng role in Taiwan. In the limited world of Peking Opera, both men have followed different paths from their fellow performers.

[Picture Caption]

p.6

(Photo by Victor J. Yang, courtesy of China Times Weekly)

X 使用【台灣光華雜誌】APP!
更快速更方便!