主 角 135（上部52）‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍ ‍The Protagonist ‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍ ‍ 陈 彦 ‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍Chen Yan

躍龍

　　因此，面对一次次高难度动作的挑战，易青娥都真正体现出了艺高人胆大的镇定、从容。几板大的唱腔，尤其是在打斗后的抒情唱段，她都处理得气韵贯通，收放自如。《断桥》里的那段核心唱，甚至引发了二十几次掌声，几乎是一句一个好，有时是一句几个好。可惜的是，观众太热情，鼓掌不当，把她觉得最低回、最能表现换气技巧的几个细腻处理，全然淹没了。

Therefore, facing the challenges of each high-difficulty stunt, Yi Qing'e truly demonstrated composure and daring. Her powerful vocals, especially the lyrical sections after fight scenes, were handled with remarkable fluidity and control. The core aria in "Broken Bridge" even elicited over twenty rounds of applause, almost a single "good" for each line, sometimes several. Unfortunately, the audience's enthusiasm and inappropriate clapping completely drowned out some of the subtle nuances she felt were the most crucial and showcased in her breathing techniques.

　　在送苟老师回宁州安葬时，易青娥还去看了胡彩香老师。胡老师正担心着她在地区的演出呢。把娃哄睡着后，胡老师就给她又指导了几处唱，说关键是要拿出情来唱，只要把情融进去，咋唱都是好听的。胡老师还说：

When sending Teacher Gou back to Ningzhou for burial, Yi Qing'e also visited Teacher Hu Caixiang. Teacher Hu was worried about her performance in the region. After putting the child to sleep, Teacher Hu gave her some more guidance on singing, saying that the key was to sing with emotion. As long as you put the emotion into it, it will sound good no matter how you sing. Teacher Hu also said:

“有些人嗓子条件不好，唱不好，有情可原。有些人嗓子好，唱出来也不好听，为啥？就是只图唱高、唱厚、唱宽，把拖腔愣朝长地拖呢，而忘了情，忘了当时唱那板戏是为了啥。唱戏唱戏，关键是要入情，入戏。只有入了情，入了戏，唱出来那才叫戏呢。”

"Some people don't have good voices, so it's understandable that they don't sing well. Some people have good voices, but they still don't sing well. Why? It's because they only focus on singing high, thick, and wide, dragging out the notes for too long, forgetting the emotion, forgetting why they sang that opera in the first place. Singing opera, the key is to get into the emotion, to get into the role. Only when you get into the emotion, when you get into the role, can it be called opera."

　　易青娥对武打场面，反倒是有把握的，因为平常练得多。而对唱腔部分，心里还总是有些胆怯。但这天晚上，她突然感到，几乎所有唱，都有点像苟老师和胡老师说的那样，是被她“拿捏住”了。

Yi Qing'e was actually quite confident about the action scenes, thanks to her extensive practice. However, she always felt a little apprehensive about the singing. But that night, she suddenly realized that almost everything she sang, just as Teacher Gou and Teacher Hu had said, was "under her control."

她在心里深深感激着她的搭档封潇潇。

She felt deeply grateful to her partner, Feng Xiaoxiao.

　　潇潇真的是一个太好的人，把对她的那份感情，把握得让她感到十分得体自然。她不喜欢在人多场合，表现出一种亲近。他就在很远很远的地方，在大家不注意时，默默看她一眼。她不习惯他的照顾，尤其是不喜欢像其他同学那样，吃一块饼干、一个雪糕，都要当着众人面给。有的甚至还要咬一口，才塞到对方嘴里。她真的很不适应这一切。他就把所有关心都做在背后，做在没人看见的地方。

Xiao Xiao was such a wonderful person; he handled his feelings for her in a way that made her feel perfectly comfortable and natural. She didn't like showing affection in public. He would stay far away, glancing at her silently when no one was looking. She wasn't used to his care, especially unlike other classmates who would offer her a cookie or ice cream in front of everyone, sometimes even taking a bite before putting it in her mouth. She really couldn't accept any of that. So he kept all his care hidden, where no one could see.

　　比如那天，他要给她核桃芝麻饼，她拒绝后，他是用一个手帕包了饼，悄悄塞在她装排练道具的包袱里了。饼子果然很精致、很酥脆、很美味。就在演出前一天走台排练，她整整一天都没吃饭。也是思念师父，更是心理压力过大，什么都吃不下。最后，是封潇潇悄悄给她买了一保温瓶鲫鱼汤，瞅机会，在没人时塞给她后，就急忙离开了。她是真的不希望他再这样做，但每一个细小的做法，又让她感到那样温暖，那样愉悦。

For example, that day, he offered her walnut and sesame cakes, and when she refused, he wrapped them in a handkerchief and secretly slipped them into her bag containing rehearsal props. The cakes were indeed exquisite, crispy, and delicious. The day before the performance, during rehearsal, she didn't eat a thing. She missed her teacher, and the immense psychological pressure made it impossible for her to eat anything. Finally, Feng Xiaoxiao secretly bought her a thermos of crucian carp soup, and when no one was around, slipped it to her before hurriedly leaving. She truly didn't want him to do that again, but every small gesture made her feel so warm and happy.

　　因此，到了台上，当“白娘子”面对“许仙”时，那种朦朦胧胧的感情，就融合、爆发得淋漓尽致了。在第一场《游湖》见面后，封潇潇甚至找了个机会，跳出戏来，跟她说了一句：“青娥，你好美呀！我愿一辈子给你配戏！”这句话像火一样，甚至点燃了易青娥一晚上的自信与激情。在与“许仙”以后的搭戏中，无论眼神、心境、牵手、拥抱，她都觉得是有一种火一样的东西，在相互燃烧着。

Therefore, on stage, when "Bai Suzhen" faced "Xu Xian," the hazy, budding emotions between them merged and erupted to their fullest extent. After their first meeting in "A Stroll on the Lake," Feng Xiaoxiao even took the opportunity to step out of the play and say to her, "Qing'e, you are so beautiful! I would gladly play opposite you for the rest of my life!" These words were like fire, igniting Yi Qing'e's confidence and passion for the entire night. In her subsequent scenes with "Xu Xian," whether it was their eyes, their emotions, their holding hands, or their embraces, she felt something like fire burning within them.

　　她在许仙被显了真身的白蛇吓死后，上峨眉山去“盗仙草”一折戏中，甚至有了一种幻觉，“许仙”就是封潇潇了。是封潇潇被她的原形吓死了。只有灵芝草才能挽救他性命。易青娥愿意舍生忘死，去最危险的地方，为封潇潇盗取这株仙草吗？她觉得自己是极其情愿的。易青娥就非常完美地完成了“盗草”全过程。在她获得灵芝草，从山上连着三个“倒扑虎”，翻下高台后，古存孝老师甚至站在侧台，激动得有些带哭腔地说：

In the scene where Xu Xian is frightened to death by the white snake in its true form, and she goes to Mount Emei to "steal the immortal herb," she even has a hallucination that "Xu Xian" is Feng Xiaoxiao. It's Feng Xiaoxiao who was frightened to death by her true form. Only the lingzhi herb can save his life. Is Yi Qing'e willing to risk her life to go to the most dangerous place to steal this immortal herb for Feng Xiaoxiao? She feels she is extremely willing. Yi Qing'e perfectly completes the entire "stealing the herb" process. After she obtains the lingzhi herb and performs three consecutive "top lunges" from the mountain, tumbling down the high platform, Teacher Gu Cunxiao even stands on the side stage, his voice trembling with emotion, saying:

　　“这个娃的《盗草》，恐怕是我今生看到最好的《盗草》了。任她哪个白娘子，只怕也是演不过咱娃这《盗草》的。”

"This child's rendition of 'Stealing the Grass' is probably the best I've ever seen in my life. Even if she were the White Snake, she probably couldn't outperform our child's 'Stealing the Grass.'"

演出终于结束了。

The performance finally ended.

　　陈彦，1963年生于陕西镇安。一级编剧。中国作家协会会员。曾创作《迟开的玫瑰》《大树西迁》《西京故事》等戏剧作品数十部，三次获“曹禺戏剧文学奖”“文华编剧奖”，作品三度入选国家舞台艺术精品工程“十大精品剧目”。曾创作32集电视剧《大树小树》，获“飞天奖”。著有长篇小说《西京故事》《装台》，其中《装台》被中国小说学会评为“2015小说排行榜”长篇小说榜首，“2015中国好书”，2017年获首届“吴承恩长篇小说奖”。出版有《陈彦剧作选》《陈彦词作选》《陈彦西京三部曲》，散文集《必须抵达》《边走边看》《坚挺的表达》《说秦腔》等著作。

Chen Yan was born in Zhen'an, Shaanxi Province in 1963. He is a first-class screenwriter and a member of the China Writers Association. He has created dozens of theatrical works, including *The Late-Blooming Rose*, *The Great Tree Moves West*, and *The Story of Xi'an*, winning the Cao Yu Drama Literature Award and the Wenhua Screenwriting Award three times. His works have been selected three times as one of the "Top Ten Excellent Plays" in the National Stage Art Masterpiece Project. He also wrote the 32-episode TV series *The Great Tree and the Little Tree*, which won the Feitian Award. He is the author of the novels *The Story of Xi'an* and *Zhuangtai*, with *Zhuangtai* being ranked first on the "2015 Novel Ranking" by the China Novel Society and named one of the "2015 China's Best Books." In 2017, he won the inaugural Wu Cheng'en Novel Award. He has published *Selected Plays by Chen Yan*, *Selected Lyrics by Chen Yan*, *Chen Yan's Xi'an Trilogy*, and essay collections such as *Must Arrive*, *Walking and Observing*, *A Resilient Expression*, and *Talking about Qinqiang Opera*.