君安的⼀堂跨洋⽹络越剧公开课
管中窥豹什么意思美国东部时间2020年11⽉23⽇晚，越剧尹派⼩⽣王君安受邀参加了⼀堂美国⼤学⽹络越剧公开课。这次公开课的主题是：新版越剧《桃花扇》对原著的忠实呈现和其在艺术上的创新。公开课全程⽤英⽂授课。
公开课的主要教学对象是美国蔓荷莲⼤学（Mount Holyoke College）的中国戏剧课上的学⽣。然⽽这个活动也吸引了⿇州五校联盟的⼀些对中国⽂化艺术感兴趣的师⽣，到场的听众也有中国⼤学的越剧爱好者。美国蔓荷莲⼤学的中国语⾔⽂学教授王颖⾃幼受家庭熏陶爱好戏曲，尤其喜欢越剧。2011年，王君安随《梁祝》明星团在美国巡演时两⼈相识。2012年，王颖在校开设中国戏剧课后开始与王君安合作，请她为美国师⽣介绍越剧。
求职信格式从这⼀年开始，蔓荷莲⼤学的这门课上，每年都会出现王君安和她传播越剧艺术的⾝影。
王君安、陶琪两位⽼师和王颖教授
校园⼀⾓
2018年，王君安还和袁派著名花旦陶琪应美国蔓荷莲⼤学的邀请，在该校做了⽂化交流讲学，并演出了《盘妻索妻》《柳毅传书》的精彩折⼦戏。
太极口诀
2018年两位⽼师来校活动海报
2018年活动照⽚
⽽在今年的特殊情况下，向世界传播越剧尹派艺术的交流并未曾阻隔，只是从线下移到了线上。
当⽇，开始上课后，王颖教授先向⼤家介绍了王君安。之后两名美国学⽣简洁地介绍了《桃花扇》这部剧和朗读了剧中侯朝宗在“题画”⼀折中唱词的英⽂翻译。接下来播放了王君安扮演的侯朝宗在“题画”⼀场中的演唱视频。⽽公开课的重点是王君安对这部新改编剧在创意、⼈物塑造、以及艺术处理上的讲解。
据王君安介绍，新版越剧《桃花扇》是安琪新越坊2018年打造的⾸创剧。选择这部剧有多重意义：《桃花扇》是⼀部经典历史剧，“借离合之情，写兴亡之感”。故事发⽣在安琪新越坊所在地南京，⽽2018年是剧作者孔尚任逝世300
年，2019年⼜是越剧尹派⼤师尹桂芳百年诞⾠。所以，选择此剧意在缅怀南京历史、纪念两位戏曲⼤师。
在⼈物的塑造⽅⾯，王君安强调了侯朝宗与越剧舞台上常见的才⼦的不同：⽆论是从化妆、唱腔、还是⾯部表情、⾝体动作、以及情感表露上都突出了这个⼈物的⼤情怀和阳刚浩然之⽓。在唱腔处理上，
王君安给⼤家细致地描述了京剧散板的运⽤，并且现场⽰范提供直观感受。京剧散板对于表现悲痛、凄切、愤慨等情绪有独到之处，君安的解说和⽰范使观众可以⼀⽬了然，深⼊理解。
《题画》⼀折剧照
王君安也谈到了今后的计划，《桃花扇》是⽂学之都南京的⼀张戏剧名⽚，在疫情之后，她将与陶琪⼀同参加更多的演出活动，以越剧《桃花扇》的形式推⼴南京古都⽂化。此外，还会秉持安琪新越坊的传承宗旨，注重青年演员的教学培养⼯作，让青春版《桃花扇》以更加完美的⾯貌展现在观众眼前。同时，⼯作坊也从多元的视⾓出发，在中国、在世界
养⼯作，让青春版《桃花扇》以更加完美的⾯貌展现在观众眼前。同时，⼯作坊也从多元的视⾓出发，在中国、在世界传播越剧艺术，多层次地开展越剧进校园的活动。
这次⽹络越剧公开课受到了师⽣的热烈欢迎，连线结束了，可讨论却还在继续。安琪新越坊选取了部分⽼师和学⽣课后发来感⾔，以飨读者。
史密斯⼤学（Smith College）赵玲⽼师
“昨天学到了很多新知识。君安在艺术创新的路上多有建树，真正令⼈钦佩。她的答问也⾮常精彩。感谢你们⽤公开课的形式把⾼雅的越剧艺术带给⼤家。”
蔓荷莲⼤学（ Mount Holyoke College) ⾼欣宜⽼师
“能得到君安⽼师亲⾝和⼤家分享对《桃花扇》剧本的揣摩以及演出的细节，还透过⽹路现场展⽰⾝段及唱腔，实在是难得⼜难忘的经历！”
北京语⾔⽂化⼤学李琳⽼师
As a Yue Opera actress Wang Jun’an not only looks beautiful, but also has solid singing skills. Combining with the historical background, she creates the complex and three-dimensional character image of Hou Chaozong through the integration of singing, movement, even orchestration and other elements.
student
comments——学⽣感⾔
抱着想要了解更多中国特⾊⽂化的⼼，选了这门东亚研究的中国戏剧课。之前在课上看王君安⽼师的舞台表演录像，就很钦佩她可以把每⼀个⼈物都塑造的栩栩如⽣。
所谓百闻不如⼀见，活动中有幸能听到王君安⽼师在线上清唱《桃花扇》唱段。深切地体会到了越剧的魅⼒以及王君安⽼师深厚的功底，印象深刻！
这次活动也让我了解到了王君安⽼师对越剧《桃花扇》中侯朝宗这个⾓⾊深刻的理解，其中她描述了对这个⾓⾊特意融⼊进去的京剧⾊彩的努⼒也让我⾮常敬佩。
在线课堂期间，⼤家对王君安⽼师许多⽣活化的提问也让我对越剧演员有了更加充分和多样的了解，这让我感觉越剧离我更近了⼀步，⽽不再是像之前⼀样仅仅只是书本上的，视频⾥的。
ph试纸怎么用
我相信这也会为我今后欣赏越剧时，增添更多更加深⼊的理解并且带来崭新的⾓度。这次课堂中讨论的主题《桃花扇》的故事线，也相⽐之前越剧中常常出现的才⼦佳⼈题材更加丰富，不仅仅展⽰了才⼦佳⼈的感情也利⽤穿插其中的家国⼤恨突出了整个故事的多⾯性。通过王君安⽼师对《桃花扇》的简介也让我以及我相信很多⼈，更加盼望着这部精彩并且寓意深远的越剧有⼀天可以漂洋过海来到更多的地⽅⼤放异彩！
乐于助人的人01
韦崇如
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Savvy Harcum I think that the way Jun'an Wang approached the expression of her character was quite different and interesting. I
I think that the way Jun'an Wang approached the expression of her character was quite different and interesting. I particularly found the way that she ud both power and restraint intriguing. When it came to movements of the body, she told us how she needed to add power and strength to each move to properly convey the character, as he is a politician and different from the normal scholar archetype. When it came to movements of the heart, however, she described how she tried to actually emote less to express deep sorrow. I was confud and thought that maybe that was an attempt to make the character appear more hardened or stereotypically manly, but it was quite the opposite. Jun'an Wang propod that true, crushing sorrow is very restrained and difficult to discern, that deep sadness can leave people frozen. I was surprid to hear this, at first, but the more I thought about it, the more I agreed with her and I am very appreciative to have this new viewpoint on human expression as I continue my class with Professor Ying Wang.
One adaptation that Jun'an Wang discusd during the open class was the change from rhythmically structured singing (slow, medium, fast) to another, Beijing Operatic technique that us no rhythm to express emotions such as sadness and anger. The advantage of this is that the tone of songs that express tho emotions changes from soft and tender to masculine and strong, which further reinforces the strength that Jun'an Wang portrays in her character throughout the play in his mannerisms, such as a wide gait and large gestures.
In my opinion, this change is an attempt to make characters more true to themlves and not solely elements of one specific theater type, which I can definitely e as more appealing to modern audiences. Tradition is something beautiful that we can all appreciate in its natural form, but deviation from typical theatrical forms can be just as captivating.
The expression of characters as true to themlves makes them more realistic and thus allows the audience to feel sympathy for their hardships and find relatability in their choices, as it humanizes them and brings the larger than life characters clor to the audience.
Shangyu Lu（陆商⾬）
王君安⽼师在南京创⽴了越剧⼯作室，并在越剧中融⼊了南京独有的历史，这在促进当地⽂化和越剧
传承⽅⾯，都有很显著的效果。把《桃花扇》的故事和地点联系在⼀起，将李⾹君的故居作为博物馆，吸引更多的游客来了解，也是⼀种有效的传播⽅式。
男性⾓⾊侯朝宗，作为⼀个历史真实存在的⼈物，不仅是⼀位传统意义上的才⼦，更是⼀个⼼怀家国的有志之⼠，为了体现他的成熟，王君安⽼师在妆容的刻画上，不同于普通越剧⾓⾊的轻妆，选择了相对浓墨重彩的表现⽅式，更接近于京剧的技巧；在舞台表现上，王君安⽼师也运⽤了更加有⼒的动作来体现他的男性魄⼒，也投⼊了具有强烈感染⼒的情绪。
关于《桃花扇》⾰新所作出的努⼒，我觉得对剧情的删减和改变是⾄关重要的⼀环，除此之外，导演和⽼师们重新创作了唱腔的部分，让⾓⾊风格能够通过唱腔来表现。
第七幕中，运⽤京剧的散板代替原本冗长的剧情结构，使得⾓⾊的愤怒与悲伤更加具像化。除了京剧之外，融会贯通各种戏剧中的技巧，也使得作品更有观赏性。作为将戏剧作为爱好的⾮专业观众，这些改变有助于我更好地理解剧情、欣赏唱腔以及和⾓⾊共情。
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Nikki Cheng I'm honor to have the pleasure of attending Jun'an's open class. She spoke passionatel
y about her work and how time-consuming it was to adapt the historical play for modern reinterpretation. She mentioned how acting as the male protagonist is just like any other role. It's the emotion portrayed that can move the audience which is the most important aspect. We got to e a snippet of her performance and it was truly amazing and touching.
After listening to her lecture I notice that the production team and actors put in a lot of effort into adapting their play to the modern audience. They keep in mind what will work to keep audience retention. I like how Jun'an talked about adapting western music such as the violin and cello to further expand musically the operatic experience.
Kristin Wang
我很钦佩王君安⽼师和她的团队改编《桃花扇》时在结合南京历史和现代舞台呈现上所做出的努⼒。在课上可以看出，君安⽼师对于侯朝宗这个⼈物有着深刻全⾯的理解：这个⼈物有政治理想，忧国忧民，不同于⼀般的⽂⼈书⽣。
君安⽼师还给我们讲解了为成功塑造侯朝宗这个⼈物所作出的创新：包括妆容，⼿势，舞台动作等等。在这些⽅⾯都突破了越剧的传统做法，吸收了京剧的艺术特点和程式，使得侯朝宗这个⼈物更为成熟坚毅。这⼀点在课上放的那⼀段戏⾥表现得很明显，还有舞台上的表情，⾮常收敛，能感觉出侯
朝宗整个⼈的⽓场和神情都是⾮常严肃和沉重的，⾮常吸引⼈！
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Xike Zhao （赵奚可）The part impresd me a lot was when Jun'an Wang discusd how hard it was for her to control her emotion. Peach Blossom Fan is a tragic story, it's hard for her not to cry, but you actually freeze when you are really sad. Compared with singing and dancing, this kind of control over emotion and expression impresd me.
In addition, I was also impresd by the team's professionalism and their efforts of making the costume, plot, and movement fitting the plot and characters, including using Peking Opera artistic techniques. The team also made changes in singing parts as well. Since I live in the very north part of China, this class is the first time I learn about the Yue Opera. I think it's important for people to understand how different or unique Yue Opera is, which will be more appealing for someone like me.
Jocelyn Zhou
王君安⽼师在讨论⾃⼰如何塑造男性⼈物形象时，说道表演者是如何利⽤表情和动作来展现⼈物的性
格并丰富⼈物形象。
这在我所看的越剧中是⽐较常见的。不少越剧都通过⼈物的表情和动作来揭⽰⼈物⼼理。《桃花扇》中的男主⾓侯⽅域是极具男性⽓质的⾓⾊——爱国、镇定以及顾⼤局。他是⼀个历史上真实存在的变⾰者，⽽⾮传说或是编造出来的⽂弱书⽣。
孕早期饮食
因此，诠释历史⼈物最真实的⼀⾯是必不可少的。对于“男性⽓质”的展现，王君安⽼师化了更浓的妆、描深眼线来体现男⼦⽓，⽽表演时的动作都更加有⼒，以此来表现男性的刚毅。这诚然是最直接有效来表达⾓⾊情感或是性格的⽅式！观众在看演出时可以明显感受到。
王君安⽼师说下次表演要控制好⾯部表情的管理，⽽我认为戏剧的动⼈之处便是演员能把主⼈公的灵魂⽤⼼诠释出来，让感情⾚裸裸地流露給观众看。因此，我觉得丰富的表情是王⽼师表演之精华。毕竟，戏剧应当是更加民主、更加直观的表达⽅式，⽆需要求观众去过度揣摩⼈物⼼理，或是满腹诗书才能理解时代兴衰的⾼深主题。观众可以从⼈物表情上理解⼈物的情感，并从⼈物⾏为中看懂品⾏和个性，那么这样的⾓⾊会是深刻⽽迷⼈的。
虽然没有看过很多剧⽬，但是不得不说融合不同的元素是更加吸引⼈的创新。艺术不应该是死板的⼀套规则，⽽是⽣动多变的。只要能给予观众更好的观看体验，⽽且清晰准确传递好主题思想，那么这部戏剧于观众⽽⾔就是深刻的、感⼈的，也就是说是成功的。烧大肠的家常做法
演唱是展⽰⼈物灵魂的重要部分。为了能够让观众更清晰窥探到⼈物的内⼼，导演决定不⾛寻常路，融⼊其他戏剧的元素。
王君安⽼师在越剧表演中融⼊了不少京剧技巧（如，散板）来展现⼈物的愤懑与悲伤。这个结合很让⼈⽿⽬⼀新，这并不完全是因为引⼊京剧技巧，⽽是京剧成分完善了⼈物塑造，让我能够⾛进主⾓，并与之共情。更丰满的⼈物形象⽆疑让我对这部剧能回味⽆穷，让我发觉戏剧的魅⼒。当丰富的元素汇合成⼀部戏剧时，那部剧本⾝就是更多元、更有魅⼒、并且不死板，有趣味。
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Jamie Day （黄建平）
Jun’an Wang’s (王君安) impressive and diver background in studying Young Male (⽣) roles in China and her study in the US, has allowed her to become experienced master in the Sheng role of the Yin style. This can be clearly en in her solo performances and National tours. Her 34 years of experience is reflected in her recent adaption of the Peach Blossom Fan (桃花扇).
The large movements Jun’an Wang performs in her role as Hou Chaozong are intentional and takes
into consideration of Hou Chaozong’s character in the story. Jun’an Wang acknowledges that her role as a political character should reflect in the way she moves. Large movements performed by Jun’an Wang convey the strength and dignity that is reflected in Hou Chaozong. Jun’an Wang acts as a bridge between the fictional world and the real world for the purpo of immersion for the audience and dramatically improves the experience. Along with contributing input to the character’s movements, she also us makeup and costume to fully embody every character she plays. Her many years of dedication and experience in Sheng roles has allowed herlf to truly cross language barriers.
I believe it is possible for the audience to understand the story of the Peach Blossom Fan with only Jun’an Wang’s movements and appearance alone.
Using her diver background, Jun’an Wang was able to borrow other styles of opera to enhance her performance. For example, she incorporates Jingju techniques for the purpo of expressing anger and sadness. The incorporation of techniques from other styles of opera helps revitalize the Peach Blossom Fan and is refreshing for the audience. Jun’an Wang’s advanced ability to innovate new methods in Peach Blossom Fan helps differentiate her performance from other performances of the same play.
I believe Jun’an Wang’s Peach Blossom Fan evolves with the modern audiences through her refreshing innovations while at the same time, remaining truthful to the original . The play adapts to the audience’s interests while prerving Chine cultural and spiritual thinking. This keeps historical stories relevant in modern society as well as honoring the history of China’s legacy.
I am honored to have witnesd the dedication of the Yue Opera artists like Jun’an Wang who work hard to keep China’s cultural legacy relevant and fresh for the Chine people and the world.
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Gemma Pennucci
There are many aspects that are considered and evaluated during the process of adapting a for performance on stage.斑马的英文
A big challenge when adapting a historical play such as Peach Blossom Fan is how a company might change the play to fit a modern audience’s taste while still maintaining the play’s traditional origin. According to Jun’an Wang, this adaptation of the play stayed very true to the original , yet it had to be condend into a much smaller time frame to accommodate the attention span of the audi
ence. Most plays must be performed under two and a half hours, which proves a challenge for adapting a longer .
For this particular piece of theatrical work, Jun’an Wang discusd the limitations of facial expression as a way to portray her character. The lack of facial expression for the majority of the play would result in a greater emotional respon in the audience during very dramatic scenes where some expression is allowed. From a western perspective where most theatrical performances are overly dramatized, this characteristic may be less appealing to a modern audience. However, from watching a short piece of the opera, it is clear that the genuine emotion Wang experiences on stage portraying the character manifests itlf in the singing and gestural expressions which can be felt by the audience. Despite language barriers and cultural differences in theater, the emotion of this character can be felt in the hearts of the audience.
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