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越剧，这朵江南之花，在绍兴嵊州孕育诞生，凭借真切细腻的表演、委婉动听的唱腔、优美抒情的风格走红九州大地、五湖四海，名声远扬，成为中华戏曲百花园中的一朵奇葩，受到万千戏迷的追捧。
越剧，既是嵊州的金名片，也是浙江的金名片，更是江南文化的典型代表。
越剧何以拥有如此吸引人的魅力？用越剧《何文秀》里的一句起腔“随我来”，为大家在此慢慢展开百年越剧的绚丽画卷。
剡溪清清 唱书声声
在浙江东部，一个四山环抱的小城——嵊州，剡溪穿城而过。嵊州古称剡县，北宋时改称嵊县。这里素有“东南山水越为最，越地风光剡领先”之美誉，“书圣”王羲之爱慕剡中山水而晚年隐居终老嵊州金庭，谢灵运、李白、杜甫、朱熹、陆游、戴逵等历代文人墨客，多次来嵊游历，留下不少咏剡佳句和访剡遗迹。
在魏晋遗风等影响下，此地佛道信仰普遍，庙会活动盛行，各种佛道音乐丰富。依存于庙会的民间艺术、佛教音乐、民俗文化丰富多彩;流传于民间的生活小曲、山乡茶歌、田间小调十分普遍。
历朝历代的文化滋养，使此地产生了很多“草木才子”“阴司秀才”，即民间所谓识文断字的能人，与元朝时的书会才人相仿佛。清朝中后期，在嵊縣甘霖镇马塘村一带，出现了一些能够应景编词进行田头歌唱的村民。其中有个叫金其炳的，把平时人们唱的山歌、和尚唱的宣卷调念佛曲、老祖宗的工尺谱合起来，弄了句“四工上合尺”衬着，自创了“四工合调”，使田头歌唱更为顺口动听。
当时，嵊县常遭遇旱涝灾害。灾后，为讨生活，在金其炳的带领下，一些唱书艺人沿门唱书，去富裕人家换些米面年糕。其后，参与唱书的艺人越来越多，他们逐渐走出剡溪两岸，走向杭嘉湖等富庶地方。艺人金芝堂更走进了茶楼，使沿门唱书成为了“走台书”。在相互交流竞争中，落地唱书的技艺更臻完善，流传也更为广泛。但这毕竟只是一种曲艺形式，有很多内心的表达显得捉襟见肘，难以完成。
渐渐地，一种不满足的种子在其中萌发了，越剧就在这样的土壤里悄悄地长成了胚胎。
“小歌班、吊脚板”
时时光终于流转到了1906年的清明节前后。数十年之后，经过推算，这个重要日子被定格在3月27日。
当时，一批在外地唱书的艺人回家祭祖，事后聚在香火堂前讲外面分角色唱书的故事。乡亲们一听来了劲，“既然能分角色唱书，何不扮起来唱戏？”这不经意的吆喝，想不到成了落地唱书走上舞台的动员令。于是，先在家乡登台演戏的计划在香火堂前孕育而生。
农历三月初三（1906年3月27日），李世泉、李茂正等邀请了高炳火、钱景松、袁福生、金世根、俞柏松、高金灿等，组成演出班子，用四只稻桶垫底，上铺门板搭成舞台，用鹅蛋粉当水粉，大红纸蘸水代胭脂，锅底灰画眉毛，穿用基本符合角色的服装（官服是借庙里的菩萨蟒袍），走上稻桶台，唱着“呤嗄调”，演出了《倪凤扇茶》《十件头》和大戏《双金花》。越剧就这样在稻桶上呱呱诞生。当时称“小歌班”。小歌班演出时没丝弦、无锣鼓，只有鼓板敲击发出“的的笃笃”声，很多地方的人们称它为“的笃班”。因为演的多是家庭伦理、情爱故事，深受群众欢迎，称之为“小歌班、吊脚板”，意思是看了小歌班就忘记吃饭干活，走不动路了。嵊县唱书艺人纷纷效仿，一时间就涌现200多副戏班，都是男子演出，演出范围从嵊县扩大到沪、杭、甬、绍。1917年，小歌班艺人袁生木等首闯上海。1920年，一座专供越剧演出的戏院——升平歌舞台拔地而起，越剧从此在上海打开了局面。
1923年，越剧发展的河流出现了一个奇特的转弯。一个叫王金水的商人从上海回到了嵊县甘霖镇的施家岙村。他受京戏髦儿班在演出市场吃香的启发，心想要是能弄出个小歌班髦儿班，一定会很赚钱。于是他重金聘请“厢房老虎”金荣水担任主教师傅，招收了施银花、赵瑞花、屠杏花等50多个女孩，女子越剧的第一副科班由此诞生。
越剧柔美的基因由此注入，如同剡溪之水，从此波动起婉约的柔光。良臣公祠里戏台两边的对联这样写道：“一弹流水再弹月，半入江风半入云”，与台上台下女孩子们的唱念做打，形成了无比和谐的画面。
立足上海 海纳百川
无无论从演出市场来说，还是从艺术提升来说，嵊县已经无法容纳如雨后春笋般发展起来的女子越剧科班了。“四季春科班”“高升舞台”……纷纷走出嵊县，奔向上海滩。在上海，不同阶段有了不同的名字，比如开始叫“小歌班”、“的笃班”，因小歌班不擅武戏、文戏较多，又被称为“绍兴文戏”，也有的称为“嵊剧”“剡剧”等等。
从1938年始，越剧的演出中心从浙江移到上海。此时男班渐趋衰落，被女班所取代，自此越剧进入女子越剧时期。至1941年，上海的女班多至36个。在上海，越剧在保持乡野质朴本质的同时，开始呈现出吐故纳新、海纳百川的新貌。
1938年，“越剧皇后”姚水娟率先迈出了越剧改良的步伐。她请原《大公报》记者樊迪民为自己编写新戏《花木兰代父从军》。越剧从此有了自已的专职编剧。至1942年9月，越剧用了4年左右的时间完成了从农村传统文化向城市现代文化的转变，这一阶段被称为“女子改良文戏”阶段。
1942年10月，袁雪芬聘请了一批文化界的有识之士，开始了有别于之前女子越剧的改革，建立了具有现代戏曲理念的编、导、演、音、美体制，创造了“尺调”，女子越剧进入“新越剧”阶段。根据鲁迅作品《祝福》改编的《祥林嫂》的演出，成为“新越剧的里程碑”，它标志着越剧进入了一个崭新的阶段，并促使剧种更加深入发展。1944年，尹桂芳等投入创造“新越剧”的行列。不久，上海的主要越剧团都加入了这个行列。
1947年，袁雪芬、尹桂芳、范瑞娟、傅全香、徐玉兰、竺水招、筱丹桂、张桂凤、徐天红、吴小楼等越剧名伶联合义演《山河恋》，一时轰动上海，成为越剧史上的壮举，这十位越剧名伶被媒体称为“越剧十姐妹”。这次事件，使得越剧以群体形象展现在人们面前。经过大上海的洗礼，越剧已经不再是剡溪之畔那个质朴的乡间丫头，而蜕变成为清秀灵动、莺声呖呖的城市姑娘。 花開全国 走向世界
1949年10月1日，新中国成立的伟大声音从天安门城楼发出，激荡全世界。在天安门观礼的人群中，就有越剧界的代表，她就是时年27岁的越剧表演艺术家——袁雪芬。
以袁雪芬为代表的越剧人，由衷地感受到了党对于越剧人的关怀，他们把无限的热情投入到越剧事业发展中去。在越剧鼎盛时期，全国20多个省市都有专业越剧团，全国拥有200多个专业越剧团。其间，新的剧目大量涌现，艺人群芳斗艳，各种流派唱腔相继形成。
质朴自然风格的领头羊是袁派，紧随其后的是王派、戚派。袁派由袁雪芬创立。袁雪芬不追求曲调的花哨，而注重以情带声，以真情实感和润腔韵味扣人心弦。袁派影响很大，戚雅仙、吕瑞英、金采风、张云霞都师承袁派而后自成一家。王派唱腔善于表现压抑、缠绵的感情，长于塑造情感细腻、热情奔放且性格执着的人物形象。戚雅仙标志性的中低音，让这个流派在各流派中极具辨识度。
典雅华丽风格的代表是傅派。傅派由傅全香创立。傅全香她大胆学习吸收了美声唱法的发声技巧，实行真假声结合，被誉为“越剧界的花腔女高音”。
婉转悠然风格的代表是张派。张派由张云霞创立。张派既继承了袁派的质朴委婉细腻，又融入傅派的俏丽多变。唱腔旋律性强，起伏较大，小腔丰富，变化灵活。
激情活力风格的代表是吕派。吕派由吕瑞英创立。曲调的高低起伏，中高音区的俏丽小腔，切分音型的运用、板式快慢和节奏张弛的鲜明对比，这些都是吕派的显著特征。
端庄聪慧风格的代表是金派。金派由金采风创立。她的嗓音明亮、音色甜美，抑扬顿挫的念白具有音乐性，自然流畅而不张扬，秀婉而凸显棱角。
如果说旦行流派中还有承转起合，那么生行流派真的是个性鲜明。
绅士的尹派。尹派由尹桂芳创立。尹派唱腔委婉缠绵中带着洒脱深沉，纯朴隽永中含着清新舒展，以柔为主、柔中寓刚。
性情的范派。范派由范瑞娟创立。范派唱腔音域宽，旋律起伏大，曲调显得华彩而有气派，具有阳刚之美。
率真的徐派 。徐派由徐玉兰创立。徐派唱腔旋律多在中高音区展开，音调大起大落，显得高亢激昂，热情奔放。
清新的陆派。陆派由陆锦花创立。陆派唱腔清纯高雅，舒展洒脱，音调朴实流畅，运腔松弛而大方。
最明朗的毕派。毕派由毕春芳创立。毕派唱腔刚健有力，明朗豪放，具有一种粗犷的男性特点。
苍劲的张派。 张派由张桂凤创立。张派刚健质朴，苍劲持重，富于感情。
越剧不仅形成了风格各异的流派特色，还在剧目、音乐、舞美、服装等方面形成了自己独特的风格，在中国360多种地方戏曲中，越剧展现出了独树一帜的美丽光芒。
越剧不但走向了全国，还在党和国家领导人的关怀下走向了世界。1954年，周恩来总理带着越剧《梁山伯与祝英台》来到了日内瓦，“东方的罗密欧和朱丽叶”“中国歌剧”开始在世界人民中传扬。从此，越剧的花朵开向了世界。
改革开放以来，越剧又一次焕发了青春，“小百花”现象成为世人瞩目的文化现象。茅威涛、董柯娣、何英、何赛飞、方雪雯、陈辉玲等都脱颖而出。绍兴小百花的吴凤花、陈飞、吴素英等也以文武兼长受到观众欢迎。上海则培养了赵志刚、钱惠丽、单仰萍、王志萍、陈颖、方亚芬、肖雅、韩婷婷、金静等优秀青年演员。福建芳华越剧团则培养了王君安、李敏、郑全、陈丽宇等新秀。越剧舞台在新的时期实现了世纪交替，重新展现出青春活力。
故乡情深 传承有序
嵊州是越剧的故乡，越剧是嵊州的代名词，两者魂牵根连。越剧因嵊州而风华，嵊州因越剧而精彩。2004年12月14日，时任浙江省委书记习近平同志到嵊州视察时说，嵊州文化底蕴深厚，首先是越剧之乡，声名远播，无论在哪里都知道，知道越剧就知道嵊州，要把越剧传承好、发扬好，做好越剧这篇文章。如今，“越剧团，团团都有嵊州人;嵊州人，人人都会唱越剧”的越乡传统优势得以延续和发扬。越剧小镇、越剧艺校、越剧广场、越剧城、越剧角等成为越乡亮丽风景。越剧文化生态保护区成为没有围墙的越剧博物馆，让越剧之乡文化旅游更加流光溢彩，成为浙江文化旅游的“金名片”。
春风十里不如你，因为越剧在这里等你。
Originating in Shengzhou， Shaoxing city， Yueju opera （or Shaoxing opera） was originally a local opera of Zhejiang province. It boasts of a refined style with sincere performance and melodious singing， which in the past century has won over the hearts of theater lovers both in China and from abroad. Indeed， Yueju opera become a “golden card” not only for Shengzhou city， but for Zhejiang as well.
Where does its glamor all come from？
At the east of Zhejiang province lies a small city， surrounded by mountains. Now known as Shengzhou city， in ancient times it was called Shanxian county， where a creek called Shan was meandering through， and was then changed to Shengxian county in North Song （960-1127）. Throughout history， men of letters who admired its natural beauty， including Wang Xizhi （303-361）， Xie Lingyun （385-433）， Li Bai （701-762）， Du Fu （712-770）， Zhu Xi （1130-1200） and Lu You （1125-1210）， to name just a few， had frequented the place， leaving behind memorable calligraphies and poems. During the Wei and Jin dynasties （220-420）， Shanxian county was heavily influenced by Buddhism. Folk culture focused on Buddhism flourished in various forms， such as temples fairs， Buddhist music， and ballads， which were hummed by villagers wherever they went.
Yet music alone was not enough， especially for those who were more cultured. In middle and late Qing dynasty （1616-1911）， some villagers began to match made-up lyrics to music when they felt like singing in the fields. Among them， a man called Jin Qibing created a tune known as sigong hediao that combined folk songs， Buddhist chanting， and gongchepu， a traditional Chinese musical notation. This came to the aid of some local singers particularly in tough times when disasters like floods and droughts struck， to which Shengxian county was no stranger. Led by Jin， they went door-to-door to sing for richer families， who would give them food in return. As they grew in number， some left Shengxian county for more prosperous places like Hangzhou， Jiaxing， and Huzhou. An artist named Jin Zhitang even made it to the tea house， bringing the new art form to the stage. Although at the time it had been technically improved and thus better received， this artistic tune was more about form—the “flesh” was still lacking. Imperfect as it was， it laid the groundwork for further development of Yueju opera.
In 1906， around the Tomb Sweeping Day， some singers returned home to pay respect to their ancestors. After the ceremony， they gathered in front of the ancestral hall and shared anecdotes about how they role-played while singing stories. Fellow villagers were captivated， “Why don’t you guys try this role-play thing with opera？” And they did.
A few days later， on March 27 to be more precise， the very first troupe of Yueju opera was formally established. Wearing borrowed clothes as costumes and colored powders as makeup， these opera singers performed on a makeshift stage—four rice buckets topped by a door plank， backed by nothing but drum clapper. Despite everything， folks loved the performance of the Small Singing Troupe （Xiaogeban）， often finding themselves enchanted by the down-to-earth story telling. Soon it went viral： over 200 troupes came into being overnight （all of which had only male singers initially）， and gradually went beyond Shengzhou to play in Shanghai， Hangzhou， Ningbo， and Shaoxing cities. In 1917， an artist called Yuan Shengmu bravely led his troupe into Shanghai; three years later， a theater specially dedicated to Yueju opera was built， marking the beginning of its glorious journey. The year 1923 was a significant turning point for Yueju opera—the first all-female troupe appeared. It was initiated by a businessman named Wang Jinshui， who wanted to establish his own female troupe back in Shengxian county after seeing how popular the Peking opera actresses were in Shanghai. Wang enrolled more than 50 girls into his troupe， and hired an established Yueju opera master by the name of Jin Rongshui to mentor them. Since then， Yueju opera has put on a new look that is soft， tender， and graceful.
However， Shengxian county could no longer accommodate the increasing female troupes. By 1938， the center for Yueju opera began to move from Zhejiang to Shanghai， where female troupes were gradually replacing their male counterparts. By the year of 1941， there were as many as 36 female troupes in Shanghai.
In 1938， Yao Shuijuan， known as the “Queen of Yueju Opera”， was among the first to reform the Yueju opera. She invited Fan Dimin， a former reporter with Ta Kung Pao， to write a new script for Miss Hua Mulan’s Military Legend. From then on， full-time scriptwriters for Yueju opera started to appear. By September 1942， Yueju opera had been fully adapted to the urban cultural settings， gradually moved away from rural areas for the past four years.
In October 1942， Yuan Xuefen， another Yueju opera diva， began her reform in a different way. Together with some cultural experts， she established a holistic system encompassing script-writing， directing， acting， sounding， and stage art， and created a new tune called chidiao， ushering in the so-called New Yueju Opera stage. The staging of Wife of Xiang Lin， an adaptation of Lu Xun’s novel New Year Sacrifice， is regarded as a milestone for this period.
In 1947， Memory of My Country was put on as a benefit performance by ten Yueju opera divas， an all-time sensation in Shanghai and a feat to remember in history. The media highly praised those brave young women—Yuan Xuefen， Yin Guifang， Fan Ruijuan， Fu Quanxiang， Xu Yulan， Zhu Shuizhao， Xiao Dangui， Zhang Guifeng， Xu Tianhong， Wu Xiaolou—as “Ten Sisters of Yueju Opera”. From then on， Yueju opera was recognized collectively as a distinctive opera.
It was under the leadership of the Party that Yueju opera gained national popularity. Over 20 provinces and cites set up their own Yueju opera troupes， and altogether there were 200 across the country， when Yueju opera was at its prime. Meanwhile， new plays mushroomed， artists were eager to get up on stage， and different schools of singing style began to form. Among the most influential schools of singing style were Yuan， Wang， and Qi. Established by Yuan Xuefen， Yuan School is characterized by its natural and truthful performance， while Wang School is good at subdued， lingering emotions， and Qi Yaxian， the founder of Qi School， was an iconic mezzo-soprano and alto.
Not only did Yueju opera stand out for its uniqueness in more than 360 kinds of local operas in China， it also shined on the international stage. In 1954， Premier Zhou Enlai took Butterfly Lovers： A Tale of the Chinese Romeo and Juliet to Geneva， putting the Yueju opera under the global spotlight. Later on， thanks to the Reform and Opening-Up， Yueju opera bloomed again： the phenomenal Xiaobaihua Yueju Opera Troupes enjoyed success not only in Hangzhou， Shaoxing， and Shanghai， but all over China. Today， young talents keep emerging， giving Yueju opera renewed vitality.
Shengzhou is blessed to have Yueju opera， just as Yueju opera is blessed to be nurtured by its beautiful hometown. For years， the Shengzhou government’s strong commitments have underpinned the inheritance and innovative development of Yueju opera. Thanks to both official and popular support， the century-old melodies of Yueju opera are expected to be sung for generations to come.
越剧，既是嵊州的金名片，也是浙江的金名片，更是江南文化的典型代表。
越剧何以拥有如此吸引人的魅力？用越剧《何文秀》里的一句起腔“随我来”，为大家在此慢慢展开百年越剧的绚丽画卷。
剡溪清清 唱书声声
在浙江东部，一个四山环抱的小城——嵊州，剡溪穿城而过。嵊州古称剡县，北宋时改称嵊县。这里素有“东南山水越为最，越地风光剡领先”之美誉，“书圣”王羲之爱慕剡中山水而晚年隐居终老嵊州金庭，谢灵运、李白、杜甫、朱熹、陆游、戴逵等历代文人墨客，多次来嵊游历，留下不少咏剡佳句和访剡遗迹。
在魏晋遗风等影响下，此地佛道信仰普遍，庙会活动盛行，各种佛道音乐丰富。依存于庙会的民间艺术、佛教音乐、民俗文化丰富多彩;流传于民间的生活小曲、山乡茶歌、田间小调十分普遍。
历朝历代的文化滋养，使此地产生了很多“草木才子”“阴司秀才”，即民间所谓识文断字的能人，与元朝时的书会才人相仿佛。清朝中后期，在嵊縣甘霖镇马塘村一带，出现了一些能够应景编词进行田头歌唱的村民。其中有个叫金其炳的，把平时人们唱的山歌、和尚唱的宣卷调念佛曲、老祖宗的工尺谱合起来，弄了句“四工上合尺”衬着，自创了“四工合调”，使田头歌唱更为顺口动听。
当时，嵊县常遭遇旱涝灾害。灾后，为讨生活，在金其炳的带领下，一些唱书艺人沿门唱书，去富裕人家换些米面年糕。其后，参与唱书的艺人越来越多，他们逐渐走出剡溪两岸，走向杭嘉湖等富庶地方。艺人金芝堂更走进了茶楼，使沿门唱书成为了“走台书”。在相互交流竞争中，落地唱书的技艺更臻完善，流传也更为广泛。但这毕竟只是一种曲艺形式，有很多内心的表达显得捉襟见肘，难以完成。
渐渐地，一种不满足的种子在其中萌发了，越剧就在这样的土壤里悄悄地长成了胚胎。
“小歌班、吊脚板”
时时光终于流转到了1906年的清明节前后。数十年之后，经过推算，这个重要日子被定格在3月27日。
当时，一批在外地唱书的艺人回家祭祖，事后聚在香火堂前讲外面分角色唱书的故事。乡亲们一听来了劲，“既然能分角色唱书，何不扮起来唱戏？”这不经意的吆喝，想不到成了落地唱书走上舞台的动员令。于是，先在家乡登台演戏的计划在香火堂前孕育而生。
农历三月初三（1906年3月27日），李世泉、李茂正等邀请了高炳火、钱景松、袁福生、金世根、俞柏松、高金灿等，组成演出班子，用四只稻桶垫底，上铺门板搭成舞台，用鹅蛋粉当水粉，大红纸蘸水代胭脂，锅底灰画眉毛，穿用基本符合角色的服装（官服是借庙里的菩萨蟒袍），走上稻桶台，唱着“呤嗄调”，演出了《倪凤扇茶》《十件头》和大戏《双金花》。越剧就这样在稻桶上呱呱诞生。当时称“小歌班”。小歌班演出时没丝弦、无锣鼓，只有鼓板敲击发出“的的笃笃”声，很多地方的人们称它为“的笃班”。因为演的多是家庭伦理、情爱故事，深受群众欢迎，称之为“小歌班、吊脚板”，意思是看了小歌班就忘记吃饭干活，走不动路了。嵊县唱书艺人纷纷效仿，一时间就涌现200多副戏班，都是男子演出，演出范围从嵊县扩大到沪、杭、甬、绍。1917年，小歌班艺人袁生木等首闯上海。1920年，一座专供越剧演出的戏院——升平歌舞台拔地而起，越剧从此在上海打开了局面。
1923年，越剧发展的河流出现了一个奇特的转弯。一个叫王金水的商人从上海回到了嵊县甘霖镇的施家岙村。他受京戏髦儿班在演出市场吃香的启发，心想要是能弄出个小歌班髦儿班，一定会很赚钱。于是他重金聘请“厢房老虎”金荣水担任主教师傅，招收了施银花、赵瑞花、屠杏花等50多个女孩，女子越剧的第一副科班由此诞生。
越剧柔美的基因由此注入，如同剡溪之水，从此波动起婉约的柔光。良臣公祠里戏台两边的对联这样写道：“一弹流水再弹月，半入江风半入云”，与台上台下女孩子们的唱念做打，形成了无比和谐的画面。
立足上海 海纳百川
无无论从演出市场来说，还是从艺术提升来说，嵊县已经无法容纳如雨后春笋般发展起来的女子越剧科班了。“四季春科班”“高升舞台”……纷纷走出嵊县，奔向上海滩。在上海，不同阶段有了不同的名字，比如开始叫“小歌班”、“的笃班”，因小歌班不擅武戏、文戏较多，又被称为“绍兴文戏”，也有的称为“嵊剧”“剡剧”等等。
从1938年始，越剧的演出中心从浙江移到上海。此时男班渐趋衰落，被女班所取代，自此越剧进入女子越剧时期。至1941年，上海的女班多至36个。在上海，越剧在保持乡野质朴本质的同时，开始呈现出吐故纳新、海纳百川的新貌。
1938年，“越剧皇后”姚水娟率先迈出了越剧改良的步伐。她请原《大公报》记者樊迪民为自己编写新戏《花木兰代父从军》。越剧从此有了自已的专职编剧。至1942年9月，越剧用了4年左右的时间完成了从农村传统文化向城市现代文化的转变，这一阶段被称为“女子改良文戏”阶段。
1942年10月，袁雪芬聘请了一批文化界的有识之士，开始了有别于之前女子越剧的改革，建立了具有现代戏曲理念的编、导、演、音、美体制，创造了“尺调”，女子越剧进入“新越剧”阶段。根据鲁迅作品《祝福》改编的《祥林嫂》的演出，成为“新越剧的里程碑”，它标志着越剧进入了一个崭新的阶段，并促使剧种更加深入发展。1944年，尹桂芳等投入创造“新越剧”的行列。不久，上海的主要越剧团都加入了这个行列。
1947年，袁雪芬、尹桂芳、范瑞娟、傅全香、徐玉兰、竺水招、筱丹桂、张桂凤、徐天红、吴小楼等越剧名伶联合义演《山河恋》，一时轰动上海，成为越剧史上的壮举，这十位越剧名伶被媒体称为“越剧十姐妹”。这次事件，使得越剧以群体形象展现在人们面前。经过大上海的洗礼，越剧已经不再是剡溪之畔那个质朴的乡间丫头，而蜕变成为清秀灵动、莺声呖呖的城市姑娘。 花開全国 走向世界
1949年10月1日，新中国成立的伟大声音从天安门城楼发出，激荡全世界。在天安门观礼的人群中，就有越剧界的代表，她就是时年27岁的越剧表演艺术家——袁雪芬。
以袁雪芬为代表的越剧人，由衷地感受到了党对于越剧人的关怀，他们把无限的热情投入到越剧事业发展中去。在越剧鼎盛时期，全国20多个省市都有专业越剧团，全国拥有200多个专业越剧团。其间，新的剧目大量涌现，艺人群芳斗艳，各种流派唱腔相继形成。
质朴自然风格的领头羊是袁派，紧随其后的是王派、戚派。袁派由袁雪芬创立。袁雪芬不追求曲调的花哨，而注重以情带声，以真情实感和润腔韵味扣人心弦。袁派影响很大，戚雅仙、吕瑞英、金采风、张云霞都师承袁派而后自成一家。王派唱腔善于表现压抑、缠绵的感情，长于塑造情感细腻、热情奔放且性格执着的人物形象。戚雅仙标志性的中低音，让这个流派在各流派中极具辨识度。
典雅华丽风格的代表是傅派。傅派由傅全香创立。傅全香她大胆学习吸收了美声唱法的发声技巧，实行真假声结合，被誉为“越剧界的花腔女高音”。
婉转悠然风格的代表是张派。张派由张云霞创立。张派既继承了袁派的质朴委婉细腻，又融入傅派的俏丽多变。唱腔旋律性强，起伏较大，小腔丰富，变化灵活。
激情活力风格的代表是吕派。吕派由吕瑞英创立。曲调的高低起伏，中高音区的俏丽小腔，切分音型的运用、板式快慢和节奏张弛的鲜明对比，这些都是吕派的显著特征。
端庄聪慧风格的代表是金派。金派由金采风创立。她的嗓音明亮、音色甜美，抑扬顿挫的念白具有音乐性，自然流畅而不张扬，秀婉而凸显棱角。
如果说旦行流派中还有承转起合，那么生行流派真的是个性鲜明。
绅士的尹派。尹派由尹桂芳创立。尹派唱腔委婉缠绵中带着洒脱深沉，纯朴隽永中含着清新舒展，以柔为主、柔中寓刚。
性情的范派。范派由范瑞娟创立。范派唱腔音域宽，旋律起伏大，曲调显得华彩而有气派，具有阳刚之美。
率真的徐派 。徐派由徐玉兰创立。徐派唱腔旋律多在中高音区展开，音调大起大落，显得高亢激昂，热情奔放。
清新的陆派。陆派由陆锦花创立。陆派唱腔清纯高雅，舒展洒脱，音调朴实流畅，运腔松弛而大方。
最明朗的毕派。毕派由毕春芳创立。毕派唱腔刚健有力，明朗豪放，具有一种粗犷的男性特点。
苍劲的张派。 张派由张桂凤创立。张派刚健质朴，苍劲持重，富于感情。
越剧不仅形成了风格各异的流派特色，还在剧目、音乐、舞美、服装等方面形成了自己独特的风格，在中国360多种地方戏曲中，越剧展现出了独树一帜的美丽光芒。
越剧不但走向了全国，还在党和国家领导人的关怀下走向了世界。1954年，周恩来总理带着越剧《梁山伯与祝英台》来到了日内瓦，“东方的罗密欧和朱丽叶”“中国歌剧”开始在世界人民中传扬。从此，越剧的花朵开向了世界。
改革开放以来，越剧又一次焕发了青春，“小百花”现象成为世人瞩目的文化现象。茅威涛、董柯娣、何英、何赛飞、方雪雯、陈辉玲等都脱颖而出。绍兴小百花的吴凤花、陈飞、吴素英等也以文武兼长受到观众欢迎。上海则培养了赵志刚、钱惠丽、单仰萍、王志萍、陈颖、方亚芬、肖雅、韩婷婷、金静等优秀青年演员。福建芳华越剧团则培养了王君安、李敏、郑全、陈丽宇等新秀。越剧舞台在新的时期实现了世纪交替，重新展现出青春活力。
故乡情深 传承有序
嵊州是越剧的故乡，越剧是嵊州的代名词，两者魂牵根连。越剧因嵊州而风华，嵊州因越剧而精彩。2004年12月14日，时任浙江省委书记习近平同志到嵊州视察时说，嵊州文化底蕴深厚，首先是越剧之乡，声名远播，无论在哪里都知道，知道越剧就知道嵊州，要把越剧传承好、发扬好，做好越剧这篇文章。如今，“越剧团，团团都有嵊州人;嵊州人，人人都会唱越剧”的越乡传统优势得以延续和发扬。越剧小镇、越剧艺校、越剧广场、越剧城、越剧角等成为越乡亮丽风景。越剧文化生态保护区成为没有围墙的越剧博物馆，让越剧之乡文化旅游更加流光溢彩，成为浙江文化旅游的“金名片”。
春风十里不如你，因为越剧在这里等你。
Originating in Shengzhou， Shaoxing city， Yueju opera （or Shaoxing opera） was originally a local opera of Zhejiang province. It boasts of a refined style with sincere performance and melodious singing， which in the past century has won over the hearts of theater lovers both in China and from abroad. Indeed， Yueju opera become a “golden card” not only for Shengzhou city， but for Zhejiang as well.
Where does its glamor all come from？
At the east of Zhejiang province lies a small city， surrounded by mountains. Now known as Shengzhou city， in ancient times it was called Shanxian county， where a creek called Shan was meandering through， and was then changed to Shengxian county in North Song （960-1127）. Throughout history， men of letters who admired its natural beauty， including Wang Xizhi （303-361）， Xie Lingyun （385-433）， Li Bai （701-762）， Du Fu （712-770）， Zhu Xi （1130-1200） and Lu You （1125-1210）， to name just a few， had frequented the place， leaving behind memorable calligraphies and poems. During the Wei and Jin dynasties （220-420）， Shanxian county was heavily influenced by Buddhism. Folk culture focused on Buddhism flourished in various forms， such as temples fairs， Buddhist music， and ballads， which were hummed by villagers wherever they went.
Yet music alone was not enough， especially for those who were more cultured. In middle and late Qing dynasty （1616-1911）， some villagers began to match made-up lyrics to music when they felt like singing in the fields. Among them， a man called Jin Qibing created a tune known as sigong hediao that combined folk songs， Buddhist chanting， and gongchepu， a traditional Chinese musical notation. This came to the aid of some local singers particularly in tough times when disasters like floods and droughts struck， to which Shengxian county was no stranger. Led by Jin， they went door-to-door to sing for richer families， who would give them food in return. As they grew in number， some left Shengxian county for more prosperous places like Hangzhou， Jiaxing， and Huzhou. An artist named Jin Zhitang even made it to the tea house， bringing the new art form to the stage. Although at the time it had been technically improved and thus better received， this artistic tune was more about form—the “flesh” was still lacking. Imperfect as it was， it laid the groundwork for further development of Yueju opera.
In 1906， around the Tomb Sweeping Day， some singers returned home to pay respect to their ancestors. After the ceremony， they gathered in front of the ancestral hall and shared anecdotes about how they role-played while singing stories. Fellow villagers were captivated， “Why don’t you guys try this role-play thing with opera？” And they did.
A few days later， on March 27 to be more precise， the very first troupe of Yueju opera was formally established. Wearing borrowed clothes as costumes and colored powders as makeup， these opera singers performed on a makeshift stage—four rice buckets topped by a door plank， backed by nothing but drum clapper. Despite everything， folks loved the performance of the Small Singing Troupe （Xiaogeban）， often finding themselves enchanted by the down-to-earth story telling. Soon it went viral： over 200 troupes came into being overnight （all of which had only male singers initially）， and gradually went beyond Shengzhou to play in Shanghai， Hangzhou， Ningbo， and Shaoxing cities. In 1917， an artist called Yuan Shengmu bravely led his troupe into Shanghai; three years later， a theater specially dedicated to Yueju opera was built， marking the beginning of its glorious journey. The year 1923 was a significant turning point for Yueju opera—the first all-female troupe appeared. It was initiated by a businessman named Wang Jinshui， who wanted to establish his own female troupe back in Shengxian county after seeing how popular the Peking opera actresses were in Shanghai. Wang enrolled more than 50 girls into his troupe， and hired an established Yueju opera master by the name of Jin Rongshui to mentor them. Since then， Yueju opera has put on a new look that is soft， tender， and graceful.
However， Shengxian county could no longer accommodate the increasing female troupes. By 1938， the center for Yueju opera began to move from Zhejiang to Shanghai， where female troupes were gradually replacing their male counterparts. By the year of 1941， there were as many as 36 female troupes in Shanghai.
In 1938， Yao Shuijuan， known as the “Queen of Yueju Opera”， was among the first to reform the Yueju opera. She invited Fan Dimin， a former reporter with Ta Kung Pao， to write a new script for Miss Hua Mulan’s Military Legend. From then on， full-time scriptwriters for Yueju opera started to appear. By September 1942， Yueju opera had been fully adapted to the urban cultural settings， gradually moved away from rural areas for the past four years.
In October 1942， Yuan Xuefen， another Yueju opera diva， began her reform in a different way. Together with some cultural experts， she established a holistic system encompassing script-writing， directing， acting， sounding， and stage art， and created a new tune called chidiao， ushering in the so-called New Yueju Opera stage. The staging of Wife of Xiang Lin， an adaptation of Lu Xun’s novel New Year Sacrifice， is regarded as a milestone for this period.
In 1947， Memory of My Country was put on as a benefit performance by ten Yueju opera divas， an all-time sensation in Shanghai and a feat to remember in history. The media highly praised those brave young women—Yuan Xuefen， Yin Guifang， Fan Ruijuan， Fu Quanxiang， Xu Yulan， Zhu Shuizhao， Xiao Dangui， Zhang Guifeng， Xu Tianhong， Wu Xiaolou—as “Ten Sisters of Yueju Opera”. From then on， Yueju opera was recognized collectively as a distinctive opera.
It was under the leadership of the Party that Yueju opera gained national popularity. Over 20 provinces and cites set up their own Yueju opera troupes， and altogether there were 200 across the country， when Yueju opera was at its prime. Meanwhile， new plays mushroomed， artists were eager to get up on stage， and different schools of singing style began to form. Among the most influential schools of singing style were Yuan， Wang， and Qi. Established by Yuan Xuefen， Yuan School is characterized by its natural and truthful performance， while Wang School is good at subdued， lingering emotions， and Qi Yaxian， the founder of Qi School， was an iconic mezzo-soprano and alto.
Not only did Yueju opera stand out for its uniqueness in more than 360 kinds of local operas in China， it also shined on the international stage. In 1954， Premier Zhou Enlai took Butterfly Lovers： A Tale of the Chinese Romeo and Juliet to Geneva， putting the Yueju opera under the global spotlight. Later on， thanks to the Reform and Opening-Up， Yueju opera bloomed again： the phenomenal Xiaobaihua Yueju Opera Troupes enjoyed success not only in Hangzhou， Shaoxing， and Shanghai， but all over China. Today， young talents keep emerging， giving Yueju opera renewed vitality.
Shengzhou is blessed to have Yueju opera， just as Yueju opera is blessed to be nurtured by its beautiful hometown. For years， the Shengzhou government’s strong commitments have underpinned the inheritance and innovative development of Yueju opera. Thanks to both official and popular support， the century-old melodies of Yueju opera are expected to be sung for generations to come.