自序

鄭法祥是上海京劇院的元老之一，由他開創(chuàng)的鄭派悟空戲威武大氣、亦莊亦諧、獨(dú)具一格。他年輕時(shí)，受到海派京劇的先驅(qū)者夏月珊、夏月潤、潘月樵、王鴻壽等前輩的熏陶與影響，又有機(jī)會(huì)與周信芳、李春來、尚和玉、趙如泉等大家同臺(tái)演戲，養(yǎng)成了志向高遠(yuǎn)、銳意進(jìn)取，對(duì)待藝術(shù)執(zhí)著追求的秉性。他自幼隨父學(xué)藝，但不墨守成規(guī)，為了追求自己理想中的孫悟空形象，研讀《西游記》，尋師訪友，向同行請(qǐng)教，揣摩南北各派的演法，從寺廟供奉的孫悟空佛像中獲取靈感，經(jīng)過長年的潛心研究，終于創(chuàng)造出了獨(dú)樹一幟的悟空戲流派。
Zheng Faxiang, one of the founding members of the Shanghai Jingju Theatre Company, has created the Zheng style. This unique Monkey King theatrical performing art is solemn and humorous as well. In his youth, he was influenced by the Shanghai style of Peking opera forerunners, such as Xia Yueshan, Xia Yuerun, Pan Yueqiao and Wang Hongshou. After performing together with some Peking opera masters including Zhou Xinfang, Li Chunlai, Shang Heyu, and Zhao Ruquan, he became more persistent, ambitious and aggressive in his art. Ever since his infancy, he had learned the Peking opera performing art from his father. However, he wasnt the type of person who would willingly yield to the stereotype routine of his time. In order to pursue the ideal image of the Monkey King that he held in his mind, he studied the classic Journey to the West very carefully. He often visited his teachers, friends and performers from the same role type as him and asked for their advice. Moreover, he always tried to fathom the different performing styles of northern and southern schools and draw his inspiration from the images of the Monkey King enshrined in temples. As a result of his long-term persistent studies, he developed a style of his own the Monkey King theatrical performing art of the Zheng Style.

1926年鄭法祥與小楊月樓、尹九霄等赴日本東京歌舞伎座演出了《金刀陣》《水簾洞》《鬧天宮》等戲，反響十分強(qiáng)烈，成為第一位把悟空戲介紹到國外的傳播者。當(dāng)時(shí)日本畫家速水御舟看了演出后，對(duì)其表演的悟空戲印象深刻，特地畫了《金刀陣》中的斗戰(zhàn)勝佛形象，此畫現(xiàn)藏于日本山種美術(shù)館。因?yàn)猷嵟晌蚩諔蛏钍苡^眾喜愛，鄭法祥開始嘗試排演《西游記》題材的連臺(tái)本戲，共演了二十多本，十分叫座。1929年上海有名的實(shí)業(yè)家黃楚九出資為鄭法祥建造了齊天舞臺(tái)，專演悟空戲，長達(dá)數(shù)年之久。這座劇場后來曾更 名為共舞臺(tái)、延安劇場，現(xiàn)名為 ET 聚場。

In 1926, Zheng Faxiang, together with Yang Yuelou Jr., Yin Jiuxiao and other performers, went to Tokyo, Japan to perform Peking operas in the Kabuki-za theater. The Golden-Blade Formation, The Waterfall Cave and Havoc in Heaven, and other Peking operas were brought to Japanese audiences, causing a sensation in Japan. Thus, he became the first Chinese to introduce the Monkey King theatrical performing art to a foreign country. After watching the performances of Zheng, Hayami Gyoshu, the Japanese painter, was so impressed that he painted the image of the Monkey King in The Golden-Blade Formation. This painting is now among the collection at the Yamatane Museum of Art, Japan. Since his style of the Monkey King theatrical performance was so beloved by the audience, Zheng Faxiang tried his hand at rehearsing serialized theatrical performances in the theme of Journey to the West. Altogether, it contained more than twenty plays, drawing a large audience. In 1929, Zheng was sponsored by Huang Chujiu, a famous entrepreneur in Shanghai, and a theater was built for him to exclusively stage the Monkey King performances for years. The theater, which was originally called Qitian Stage, had been renamed Gong Stage and Yanan Theater, and now goes by the name of ET Theater.

筆者從16歲開始先后師從劉云龍和陳正柱老師，學(xué)習(xí)鄭派悟空戲表演藝術(shù)，由于年代的關(guān)系，未能親眼一睹鄭老的大師風(fēng)采，深感遺憾。2015 年上海京劇院遷址時(shí)，在資料室的倉庫中發(fā)現(xiàn)了一批記錄鄭法祥悟空戲身段的黑白照片，這對(duì)于研究鄭派悟空戲表演藝術(shù)有著極其珍貴的參考價(jià)值，筆者如獲至寶。
2016年正值丙申猴年之際，筆者特別制作、主演了大圣來也鄭派悟空戲展演，演出貫穿全年，引起了強(qiáng)烈的反響，許多年輕觀眾紛紛對(duì)鄭派悟空戲產(chǎn)生了濃厚的興趣。在一整年的演出中，許多精彩瞬間被鏡頭一一記錄了下來。

I started to learn about the Monkey King theatrical performances of the Zheng style from my teachers Liu Yunlong and Chen Zhengzhu when I was 16. As living in a different age from that of Master Zheng, its impossible for me to see him perform with my own eyes, which is no doubt a great pity. Fortunately, when Shanghai Jingju Theatre Company moved to a new site in 2015, I found some black and white photos of the dramatic postures of Master Zhengs Monkey King performances in the reference room, which has served as invaluable reference materials for the study of the Monkey King theatrical performing art of the Zheng style. I cherish them like a precious treasure.
In 2016, the year of the monkey, I produced and starred in the performing project The Monkey King is Coming The Tales of the Monkey King (the Zheng Style). The performances continued all throughout the year and had an immense effect on the audiences. As a result, many young audience members started to gain interest in the Zheng style. Meanwhile, highlights of the performances have been recorded by our photographers.

為了更廣泛地傳播和展示鄭派悟空戲的獨(dú)特風(fēng)采和傳承脈絡(luò)，筆者經(jīng)上海京劇院同意，將鄭法祥及其弟子的珍貴照片，結(jié)合2016年展演的精彩圖片集結(jié)成冊(cè)，以此來紀(jì)念一代宗師鄭法祥，弘揚(yáng)鄭派悟空戲表演藝術(shù)。

2019年4月

In order to spread the unique glamour of the Zheng style and to display the whole process of its inheritance, after seeking the permission of the Shanghai Jingju Theatre Company, I collected the precious photos of Master Zheng and his students, together with some excellent pictures of the special performances The Monkey King is Coming from 2016, and compiled them into a photo album. This is to honor Zheng Faxiang a timeless Peking Opera master and to carry forward the Monkey King theatrical performing art of the Zheng style.
April, 2019