130分钟“变身”6次，以超高演技将一个传统故事创新性发展为一部跌宕起伏的心理剧。

作为第二十二届中国上海国际艺术节参演剧目，由“晋剧第一女老生”谢涛领衔的新编晋剧《庄周试妻》今明两晚在上海星舞台献演。

剧中，谢涛一人分饰两角，不但要在庄周和楚王孙间几度切换，更需在扮演“庄周幻化的楚王孙”时形神分离。

演技最炸裂时，一段60分钟的戏“一镜到底”，以假楚王孙试探妻子的同时，真庄周频频冒出来展现纠结心理活动。台上明明就两个人，却生生演了一出三角大戏。

一堂口传心授的实践课

昨晚，记者提前探班。这出《庄周试妻》时长逾130分钟，除去换装时间，谢涛在台上足足115分钟。利用戏曲舞台的假定性，两次换装直接在台上进行。脱外袍、换帽子都在戏里，甚至还准备了红黑两个髯口，拿错的小厮被“愤怒的庄周”踹一跟头。

坐在台下，只见前一刻儒雅持重的庄周说要闭关下场了，后一刻风度翩翩的楚王孙就闪亮登场了；守在后台，就看两个化妆师跟着谢涛在两个台口间跑来跑去，有时是戴着竹编帽的“庄周”，有时是还没戴翎子的“楚王孙”。

为能跟上戏的节拍，上下场口均设有一个简易梳妆台，最紧张一次抢妆需控制在1分钟内，四个人围着谢涛换衣换帽整翎子，就像赛车场上换轮胎，候分掐数。

就在如此紧张时刻，谢涛竟还不忘现场教学，叮嘱方才对戏的演员，又关照饰演妻子田氏的任舒静：“一会走步不要过快，要确保我踏两步拉住你水袖时，我们俩都在台正中的追光下。”

谢涛牢记导演曹其敬的话：“这出戏，你就不要去想什么行当了，一切从人物出发。”

她在老生和小生间自然转换，用两根翎子和时有时无的牵巾来“暗示”真实身份。戏至高潮，妻子田氏为救楚王孙举起斧子劈棺取脑。两次台上换装都在这个段落，最考验团队合作。

后台换装的谢涛

©️朱渊

昨天彩排，这一换装环节重来三次，要求做到——时间要控制在1分钟，乐队锣鼓点要由缓而急，两人一组换装演员不能早一秒或晚一秒，追光加亮需在转身刹那。

一次对传统文化的回望

这戏讲的虽是《庄周试妻》的故事，实则借庄子“从圣人到凡人再到俗人”的过程剖析人性。这是一个哲学家的人性实验，也是一次对传统文化的回望。

编剧徐棻为谢涛量身定制的庄周是个半仙体，看似“清静”“无为”“崇尚天性自然”，实则疑神疑鬼怕“戴绿帽子”，承受着凡夫俗子的心灵痛苦和煎熬。为探明妻子“情何在”，不惜反复折腾试探，最终让田氏殒命，实力演绎“作死”。

在谢涛的创作经历中，这个独树一帜的人物区别于以往所有角色，算上外在和心理，一人分化出四个人格，多维度展现庄周的纠结内心。角色间的交织，不同人格转换，演起来虽然费劲却格外过瘾。

她笑说：

真的很满足，这戏于我而言是新的突破、跨越、实验、创新，于晋剧是老戏新编，解构与再建构。

“上海是我的福地。”谢涛说。

2005年，还是太原晋剧艺术研究院青年团演员的她带着新编戏《范进中举》来闯上海滩。此前，晋剧整整69年没有来过上海。一曲终了，越剧表演艺术家袁雪芬头一个起立鼓掌。“一战成名”的谢涛，成功地让晋剧跨越半个多世纪，重新在“戏曲大码头”找到自己的位置。

此后，谢涛但凡有新戏都会带来上海，参演中国上海国际艺术节。艺术节的平台和上海这一“世界之窗”，为谢涛也为晋剧拓宽了通向全球市场之路。此次来沪，谢涛带着一批优秀青年演员，希望他们在海纳百川、包容兼并的上海获得认可。

---

作者：朱渊（新民晚报·新演艺工作室）

编辑：吴旭颖 李争

图片：朱渊 摄，部分受访者提供

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