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从落地唱书到女子科班，从山歌民谣到悠悠清韵，她在江南秀美的山水田园中孕育，她的精气神沾染了吴越民间生活的烟火气，与江南百姓的文化血脉相依相偎、相辅相成。经过114年的传承发展，她不仅有几百出传统和现代的优秀剧目，数以亿计的忠实观众，还拥有一批享誉全国的著名表演艺术家。
她，便是越剧。
作为中国主要的地方性大剧种，也是流传最广的地方剧种，越剧书写了中国戏曲史上乡音流变的神话。“越剧的历史，其实就是中国百年社会变革的历史。”钟冶平与越剧结缘三十余年，导演了《百年越剧》《舞台姐妹》等耳熟能详的越剧纪录片。这一次，我们跟随他的讲述，细细触摸越剧源起、传承与发展的年轮。
回肠柔曲出嵊州
越山剡水清悠悠，回肠柔曲出嵊州。寻访越剧的踪迹，还得从她的发源地——嵊州市甘霖镇东王村开始。
四个稻桶，两扇门板，搭出一张简陋的越剧戏台。我们围着八仙桌面对而坐，鼻尖萦绕着香火堂的袅袅烟味，目光流转着扬舞的水袖、飘逸的台步，耳畔流淌着悠扬的旋律、清婉的唱腔。
举目四望，墨绿的青苔悄然爬上了屋顶的黑瓦，填补了樟木材饱经日月风霜后绽开的一道道皲裂。一块刻画着“嵊州市文物保护单位：越剧诞生地”的石碑矗立着，碑上灰白的纹理、斑驳的刻痕仿佛跨越了时光长河，将百年越剧的历史带到我们眼前。
一步脚印一滴汗水，一锹黄土一句唱书。当年的嵊州百姓在田间陇上劳作时，依据民间演义的故事、当地的小道消息或自身的生活经历，信手拈来编成一些生动有趣的即兴唱段，琅琅上口，活灵活现。钟冶平介绍说：“这种唱段主要以当地流行的宣卷调为主，糅合了牧牛调、莲子行等民歌小调，因为用‘四工合上尺’当作尾衬，所以当地人都叫它‘四工合调’。”
1906年清明节前夕，东王村李世泉、高炳火、钱景松等一批刚从临安外伍村演出回来的民间艺人，经过精心准备，在东王村香火堂前用四只稻桶垫底，再铺上门板，上台演出了《十件头》《倪凤扇茶》《双金花》等戏，越剧在这个小村庄里横空出世，掀开了中国戏曲史的新一页。
据《绍兴市志》记载，早期的越剧因只用笃鼓、檀板按拍击节，的笃之声不断，又称“小歌班”“的笃班”。小歌班因其演出不拘条件，能送戏上门，深入山庄小村演出，且戏班人员少，好接待，不计较报酬，受到当地百姓的欢迎。有民谣作证：“小歌班、吊脚板，男人看了懒出畈。女人看了懒烧饭，自格小囡忘记还。”
“越剧从她诞生的那一天起，就饱含着吴越文化的真挚情感和之江大地的泥土芳香。”在发源地讲越剧故事，钟冶平感触颇深。
“湖月照我影，送我至剡溪”，是李白梦游天姥山，陶醉于嵊州的山水之间的雅兴。盛唐时，有400多位诗人在越乡留下了1000多首瑰麗诗作，将文明的种子播撒在剡溪两岸的旷野乡间，形成了越乡民间文化的深厚积淀。也许只有这样唐诗之路的山水，才能孕育出水样柔情的越剧。
行走在静卧山间的东王村，我们仿佛重新阅读越剧的百年演义。越剧的诞生已在世代相传间，沉淀成村庄不老的故事，年代或事件的纲目依然清晰，仍是乡间农人熟稔的内容。戏服、工具、蓑衣、晒匾等，村里陈列着老物件的展示馆就像一圈全年轮，再现当地老百姓曾经的乡村生活。
清丽越音传四方
如果当年的越剧仅仅满足于自娱自乐和田头歌唱，仅仅停留在宁绍平原和杭嘉湖平原，就不可能有以后的发展和今天的辉煌。
车停在嵊州鹿胎山南麓的越剧博物馆，这里和誉有“越剧艺术家摇篮”之称的越剧之家相连。
“我们的博物馆刚过30岁生日！”越剧博物馆馆长俞伟骄傲地介绍，作为中国第一家专业戏曲博物馆，嵊州越剧博物馆于1990年10月18日开馆。
眼前的白色建筑物巍峨矗立、气势磅礴，一下子就把人带进了百年越剧的辉煌历程中。庭院内摆有一块刻有“百年越剧”的石碑。踱步入院，映入眼帘的便是袁雪芬、尹桂芳等越剧老艺术家们的铜像，在午后秋日金色暖阳的映照下，焕发出莹莹光辉。一幅幅老照片，一张张老报纸，一件件旧行头……馆内弥足珍贵的实物，仿佛一个个清晰的脚印，真实记载了越剧发展的艺术轨迹。
“越剧第一次上台演出时，艺人一不会走台步，二不会做身段，‘唱做念打’样样不懂，‘手眼身法步’也没有掌握，更谈不上‘四功五法’的运用了。”俞伟说，小歌班演员虚心向姚剧、绍剧的大班子请教，“小歌班早期穿戴大多数借用生活中的衣衫、长袍、马褂，学习了大班子的传统样式后，把租来的戏装放在篾篓里，挑着走村跑镇，这是小歌班最早出现的衣箱形式。”
以《碧玉簪》《梁山伯与祝英台》等优秀剧目为先导，小歌班敲开了上海这个繁华大都市的大门。在展厅透明的玻璃窗内，一张泛黄的《申报》摊开在桌面上。“1922年8月，以王永春、白玉梅、马潮水为首的越剧戏班进入到上海‘大世界’演出，《申报》当天广告刊出‘绍兴文戏’之名，因此越剧又被称为‘绍兴文戏’。”俞伟说，小歌班原来是没有伴奏乐器的清唱艺术，唱腔尾声拖腔是用人声帮腔，常以“呤哦呤呤哦”唱出。后来组成了以鼓板、板胡、斗子三件乐器组成的“三件头”乐队，以丝弦伴奏替代人声帮唱，唱腔尾声帮腔，更为文雅完整了。
越剧博物馆是越剧的一面镜子。“尺调弦下哀婉情，起调拖腔意无穷。江南灵秀出莺唱，啼笑喜怒成隽永。”越剧的第一声唱叹就袅娜在人们的耳边，由嵊州向杭州、向上海辐射到全国乃至世界，诉说着越剧文化千尺深潭般的底蕴。
“越剧从浙东山村走进绍兴、宁波、杭州，闯进上海后一鸣惊人，不是一帆风顺的。”钟冶平补充说，越剧发展到今天有两点不可忽视：一是越剧走出了地域的局限，顺应了时代的发展。二是自觉接受了先进文化的熏陶。
从嵊州出发，经过1个多小时的车程，我们来到了70公里外余姚四明山的浙东行政公署旧址。1943年7月后，为了适应抗日宣传的需要，浙东区党委决定以革命知识青年为主体，吸收一批越剧老艺人，建立一支革命化、群众化、男女合演的越剧队伍，定名为浙东行政公署社会教育队（简称浙东行署社教队）。 “那时，每当出现一支三四十人扛着丝弦锣鼓的队伍时，那些在田地里锄地、在竹林中伐竹、在江心撒网的群众都会停下手中的活计，奔走相告去看戏。”钟冶平说，为了更好地表现革命现实斗争题材，男女合演成为改造越剧的必然趋势。
作家俞观潮在回忆起社教队受四明山群众欢迎的动人景象时写道：“许多阿嫂、大妈索性冲进后台向男女演员们送麻团、送年糕……刹那间，台前台后挤满了人，真像过年过节般热闹。”
同样不能忘却的还有“越剧十姐妹”。1947年初夏，为反对旧戏班制度，筹建剧场和戏校，发展越剧，尹桂芳、袁雪芬、范瑞娟、傅全香、徐玉兰、筱丹桂、竺水招、徐天紅、张桂凤、吴小楼十人举行联合义演，同台演出，轰动上海，“越剧十姐妹”的美名传遍世界。
徘徊在浙东行署旧址林立的屋舍之间，回想着当年上海滩十姐妹的故事，我们体味到国难当头、追求光明时越剧人的真挚感情。新老艺人、男女艺人通过相互切磋和采长舍短，逐步将写实与写意、逼真与虚拟巧妙结合起来，形成既有表达人物生活真实的话剧之美，又有传统戏曲形式之美的新型越剧。
江南更现百花洲
在嵊州，一个精心打造的越剧小镇已经冉冉升起;在全省各地，省级剧团强强联合，全新剧场破土而出，创新作品连绵不绝……当代的越剧故事正放声吟唱，余音袅袅。
漫步在杭州西湖区转塘街道的浙江音乐学院中，远远地就看到了浙江小百花越剧院的“一朵花”标志。2019年8月，浙江小百花越剧院正式挂牌成立。浙江越剧团和浙江小百花越剧团强强融合，继续演绎“女子越剧”和“男女合演”的精彩篇章。
越剧在短短百年间发展成熟起来，成为中华戏曲百花园中的奇葩，离不开时代的机遇与挑战。“我们26位第一批‘小百花’能够从全省70多家越剧团里脱颖而出，就是一种机遇。”原生代毕派小生、国家一级演员赵小珍回忆起自己在“小百花”度过的近40年时间，跟随着改革开放的步伐，走遍中国的大江南北，为人民抒怀歌唱的经历时依然心潮澎湃。
如今，无论是已公演近1000场的经典剧目《五女拜寿》，还是荣登首届国家舞台艺术十大精品剧目之列的转型之作《陆游与唐琬》，抑或是老百姓喜闻乐见的通俗喜剧《红丝错》，都在向我们细细讲述着“小百花”未完待续的传奇故事。
“越剧发展不仅需要创作高质量的剧目，推出高水平的演出，更重要的是善用现代化的传播工具，让更多优秀作品‘飞入寻常百姓家’。”待告别时，绯红的晚霞将我们的脸颊染得通红，赵小珍的谆谆叮嘱犹在耳畔。
越剧的薪火相传，还在于它深深扎根于民间。到黄龙洞看越剧，是许多杭州人的习惯。在黄龙洞景区的禧园大舞台上，一年365天，天天为观众奉献精彩的越剧表演。每一位表演者，都是科班出身的专业越剧演员，其中不乏国家一级演员，以及戏剧“梅花奖”获得者。黄龙越剧团这个有着32年历史的民营剧团，能演出50多台精彩折子戏，10多台大本戏。
据统计，全省民营越剧团多达数百家，受欢迎的越剧团一年演出多达五六百场，是浙江省舞台演出的主力军之一。
前人风韵传后代，艺海奔潮万古流。伫立在西湖边的中国越 · 剧场犹如一只巨大的“蝴蝶”，正振翅高飞。
“越剧百年的发展，走的是一条兼容并蓄、锐意进取的道路。一代又一代戏剧人继承创新，才使得越剧的发展达到了今天的艺术格局。越剧在继承传统的前提下，要有开拓时代精神需求、文化需求和审美需求的新境界。”著名越剧表演艺术家茅威涛期待，这座剧院能像伦敦西区一样，逐步形成驻演剧目的经典性，开启国内旅游观剧目的地的剧场形态。
回顾几代越剧人的进取与拼搏，钟冶平说，越剧的精神，实际上就是浙江人民开拓、拼搏的创业精神在文化方面的集中体现。越剧已经深深烙印在浙江人的精神血脉之中，她不仅是属于浙江，更是属于中国、属于全世界的精神财富。在越剧的一喜一悲一抖袖、一颦一笑一回眸间，我们见到了最真实的文华。
“The history of the Yueju opera is in fact the history of China’s social transformation in the last century，” according to Zhong Yeping， who has been shooting Yueju opera documentaries for the past thirty-odd years.
From luodi changshu， or singing out stories in the fields， to all-female troupes， from folk ballads to internationally recognized opera performance on the stage， Yueju opera has blended local people’s lives and the beautiful natural environment that has fed its growth， attracted hundreds of millions of fans and produced hundreds of plays and an ever-growing number of artists over the course of 114 years.
While it is now the second most popular Chinese opera， Yueju opera has a very humble beginning.
In 1906， a few villagers from Dongwang village， Ganlin township， Shengzhou city just returned home after performing in Waiwu village， Lin’an city. It was the Qingming Festival， or the Tomb Sweeping Day， when the Chinese people pay respects to their ancestors. As the villagers gathered at the ancestral hall， these village artists began to relate their stories of performances in other villages. “Why not you perform as a troupe？” So they did. With four rice buckets and two door planks， a makeshift stage was set up in front of the ancestral hall. And with the performances of these village artists， Yueju opera was born. “From the very first day， Yueju opera has been steeped in the Wuyue culture and infused with the down-to-earth spirit of the Zhejiang people，” said Zhong Yeping.
Back in the old days， when Shengzhou people were working in the fields， some self-entertaining villagers would sing to each other or to themselves， drawing folk stories， local gossips or personal experiences. Over time， “A unique tune， which the locals call sigong hediao， developed，” said Zhong Yeping. “It was so named because it combined folk melodies such as cow-herding songs， Buddhist chanting， and gongchepu， a traditional Chinese musical notation.”
The establishment of the very first troupe of Yueju opera in Dongwang village led to the mushrooming of similar troupes overnight. The early Yueju opera troupes were called Xiaogeban （literally “Small Singing Troupes”） or Diduban （literally “Didu Troupes”）， according to the Annals of Shaoxing City， as these troupes were consisted of only a small group of performers and used only small drums and wooden clappers as accompaniment （whose rhythmic beatings sound like di and du， hence the name Didu）.
Since these troupes were small in size， they were very mobile and able to perform in various places， even in areas with harsh conditions. Moreover， as these artists cared little for remuneration， they were wildly popular with the people.
“When Yueju opera was first put on the stage， the performers couldn’t do any movements， nor any postures， let alone those acrobatic skills that artists of other traditional operas are often familiar with，” said Yu Wei， head of the Yueju Opera Museum in Shengzhou. But they were eager to learn from established and bigger troupes from Yao opera， for example. “The costumes were either from robes and dresses from real life， which were then altered for the purpose of performing Yueju opera， or rented from troupes of other operas，” Yu added.
“My shadow’s followed by moonbeams， Until I reach Shimmering Streams [i.e. Shanxi River in Shengzhou city]，” Li Bai （701-762） wrote in his poem. Throughout history， men of letters who admired Shengzhou’s landscape had travelled to the place. During the High Tang period （ca. 650-755）， over 400 poets wrote more than 1，000 poems about Shengzhou， Shaoxing and its neighboring areas， laying a solid cultural foundation for the blooming of Yueju opera. However， one development that proved fateful for Yueju opera was its entry into Shanghai in the 1910s and 1920s. If Yueju opera had stayed in the fields or the immediate regions adjacent to its birthplace， it would never have attained the achievements that have taken it to such a height today.
“In August 1922， the Yueju opera troupe led by masters like Wang Yongchu， Bai Yumei and Ma Chaoshui went to perform in the Great World in Shanghai，” said Yu Wei， pointing at a yellowed clipping of Shen Bao （Shanghai News） collected in the museum. “The advertisement here called the opera ‘Shaoxing opera’， which is what Yueju opera is also known as.”
Gradually， Yueju opera gained more and more followers in Shanghai， with an increasing number of Yueju opera troupes venturing into the city. In early summer of 1947， to further develop Yueju opera and raise money to build opera schools， Yuan Xuefen， Yin Guifang， Fan Ruijuan， Fu Quanxiang， Xu Yulan， Zhu Shuizhao， Xiao Dangui， Zhang Guifeng， Xu Tianhong and Wu Xiaolou put on a benefit performance， and caused a great sensation. The “Ten Sisters of Yueju Opera”， as the ten artists are known， cemented Yueju’s status.
Today， the Yueju Opera Town in Shengzhou is making its mark， provincial opera troupes are consolidating resources to build more theaters and develop more plays， and private-run Yueju opera troupes in Zhejiang number in the hundreds， with those popular one giving 500 to 600 performances a year.
Indeed， looking back on the hard work of the past few generations of Yueju opera artists， their enterprising spirit is the cultural embodiment of the pioneering and entrepreneurial spirit of Zhejiang people. Yueju opera is not only Zhejiang’s cultural wealth， but also that of China and the whole world.
她，便是越剧。
作为中国主要的地方性大剧种，也是流传最广的地方剧种，越剧书写了中国戏曲史上乡音流变的神话。“越剧的历史，其实就是中国百年社会变革的历史。”钟冶平与越剧结缘三十余年，导演了《百年越剧》《舞台姐妹》等耳熟能详的越剧纪录片。这一次，我们跟随他的讲述，细细触摸越剧源起、传承与发展的年轮。
回肠柔曲出嵊州
越山剡水清悠悠，回肠柔曲出嵊州。寻访越剧的踪迹，还得从她的发源地——嵊州市甘霖镇东王村开始。
四个稻桶，两扇门板，搭出一张简陋的越剧戏台。我们围着八仙桌面对而坐，鼻尖萦绕着香火堂的袅袅烟味，目光流转着扬舞的水袖、飘逸的台步，耳畔流淌着悠扬的旋律、清婉的唱腔。
举目四望，墨绿的青苔悄然爬上了屋顶的黑瓦，填补了樟木材饱经日月风霜后绽开的一道道皲裂。一块刻画着“嵊州市文物保护单位：越剧诞生地”的石碑矗立着，碑上灰白的纹理、斑驳的刻痕仿佛跨越了时光长河，将百年越剧的历史带到我们眼前。
一步脚印一滴汗水，一锹黄土一句唱书。当年的嵊州百姓在田间陇上劳作时，依据民间演义的故事、当地的小道消息或自身的生活经历，信手拈来编成一些生动有趣的即兴唱段，琅琅上口，活灵活现。钟冶平介绍说：“这种唱段主要以当地流行的宣卷调为主，糅合了牧牛调、莲子行等民歌小调，因为用‘四工合上尺’当作尾衬，所以当地人都叫它‘四工合调’。”
1906年清明节前夕，东王村李世泉、高炳火、钱景松等一批刚从临安外伍村演出回来的民间艺人，经过精心准备，在东王村香火堂前用四只稻桶垫底，再铺上门板，上台演出了《十件头》《倪凤扇茶》《双金花》等戏，越剧在这个小村庄里横空出世，掀开了中国戏曲史的新一页。
据《绍兴市志》记载，早期的越剧因只用笃鼓、檀板按拍击节，的笃之声不断，又称“小歌班”“的笃班”。小歌班因其演出不拘条件，能送戏上门，深入山庄小村演出，且戏班人员少，好接待，不计较报酬，受到当地百姓的欢迎。有民谣作证：“小歌班、吊脚板，男人看了懒出畈。女人看了懒烧饭，自格小囡忘记还。”
“越剧从她诞生的那一天起，就饱含着吴越文化的真挚情感和之江大地的泥土芳香。”在发源地讲越剧故事，钟冶平感触颇深。
“湖月照我影，送我至剡溪”，是李白梦游天姥山，陶醉于嵊州的山水之间的雅兴。盛唐时，有400多位诗人在越乡留下了1000多首瑰麗诗作，将文明的种子播撒在剡溪两岸的旷野乡间，形成了越乡民间文化的深厚积淀。也许只有这样唐诗之路的山水，才能孕育出水样柔情的越剧。
行走在静卧山间的东王村，我们仿佛重新阅读越剧的百年演义。越剧的诞生已在世代相传间，沉淀成村庄不老的故事，年代或事件的纲目依然清晰，仍是乡间农人熟稔的内容。戏服、工具、蓑衣、晒匾等，村里陈列着老物件的展示馆就像一圈全年轮，再现当地老百姓曾经的乡村生活。
清丽越音传四方
如果当年的越剧仅仅满足于自娱自乐和田头歌唱，仅仅停留在宁绍平原和杭嘉湖平原，就不可能有以后的发展和今天的辉煌。
车停在嵊州鹿胎山南麓的越剧博物馆，这里和誉有“越剧艺术家摇篮”之称的越剧之家相连。
“我们的博物馆刚过30岁生日！”越剧博物馆馆长俞伟骄傲地介绍，作为中国第一家专业戏曲博物馆，嵊州越剧博物馆于1990年10月18日开馆。
眼前的白色建筑物巍峨矗立、气势磅礴，一下子就把人带进了百年越剧的辉煌历程中。庭院内摆有一块刻有“百年越剧”的石碑。踱步入院，映入眼帘的便是袁雪芬、尹桂芳等越剧老艺术家们的铜像，在午后秋日金色暖阳的映照下，焕发出莹莹光辉。一幅幅老照片，一张张老报纸，一件件旧行头……馆内弥足珍贵的实物，仿佛一个个清晰的脚印，真实记载了越剧发展的艺术轨迹。
“越剧第一次上台演出时，艺人一不会走台步，二不会做身段，‘唱做念打’样样不懂，‘手眼身法步’也没有掌握，更谈不上‘四功五法’的运用了。”俞伟说，小歌班演员虚心向姚剧、绍剧的大班子请教，“小歌班早期穿戴大多数借用生活中的衣衫、长袍、马褂，学习了大班子的传统样式后，把租来的戏装放在篾篓里，挑着走村跑镇，这是小歌班最早出现的衣箱形式。”
以《碧玉簪》《梁山伯与祝英台》等优秀剧目为先导，小歌班敲开了上海这个繁华大都市的大门。在展厅透明的玻璃窗内，一张泛黄的《申报》摊开在桌面上。“1922年8月，以王永春、白玉梅、马潮水为首的越剧戏班进入到上海‘大世界’演出，《申报》当天广告刊出‘绍兴文戏’之名，因此越剧又被称为‘绍兴文戏’。”俞伟说，小歌班原来是没有伴奏乐器的清唱艺术，唱腔尾声拖腔是用人声帮腔，常以“呤哦呤呤哦”唱出。后来组成了以鼓板、板胡、斗子三件乐器组成的“三件头”乐队，以丝弦伴奏替代人声帮唱，唱腔尾声帮腔，更为文雅完整了。
越剧博物馆是越剧的一面镜子。“尺调弦下哀婉情，起调拖腔意无穷。江南灵秀出莺唱，啼笑喜怒成隽永。”越剧的第一声唱叹就袅娜在人们的耳边，由嵊州向杭州、向上海辐射到全国乃至世界，诉说着越剧文化千尺深潭般的底蕴。
“越剧从浙东山村走进绍兴、宁波、杭州，闯进上海后一鸣惊人，不是一帆风顺的。”钟冶平补充说，越剧发展到今天有两点不可忽视：一是越剧走出了地域的局限，顺应了时代的发展。二是自觉接受了先进文化的熏陶。
从嵊州出发，经过1个多小时的车程，我们来到了70公里外余姚四明山的浙东行政公署旧址。1943年7月后，为了适应抗日宣传的需要，浙东区党委决定以革命知识青年为主体，吸收一批越剧老艺人，建立一支革命化、群众化、男女合演的越剧队伍，定名为浙东行政公署社会教育队（简称浙东行署社教队）。 “那时，每当出现一支三四十人扛着丝弦锣鼓的队伍时，那些在田地里锄地、在竹林中伐竹、在江心撒网的群众都会停下手中的活计，奔走相告去看戏。”钟冶平说，为了更好地表现革命现实斗争题材，男女合演成为改造越剧的必然趋势。
作家俞观潮在回忆起社教队受四明山群众欢迎的动人景象时写道：“许多阿嫂、大妈索性冲进后台向男女演员们送麻团、送年糕……刹那间，台前台后挤满了人，真像过年过节般热闹。”
同样不能忘却的还有“越剧十姐妹”。1947年初夏，为反对旧戏班制度，筹建剧场和戏校，发展越剧，尹桂芳、袁雪芬、范瑞娟、傅全香、徐玉兰、筱丹桂、竺水招、徐天紅、张桂凤、吴小楼十人举行联合义演，同台演出，轰动上海，“越剧十姐妹”的美名传遍世界。
徘徊在浙东行署旧址林立的屋舍之间，回想着当年上海滩十姐妹的故事，我们体味到国难当头、追求光明时越剧人的真挚感情。新老艺人、男女艺人通过相互切磋和采长舍短，逐步将写实与写意、逼真与虚拟巧妙结合起来，形成既有表达人物生活真实的话剧之美，又有传统戏曲形式之美的新型越剧。
江南更现百花洲
在嵊州，一个精心打造的越剧小镇已经冉冉升起;在全省各地，省级剧团强强联合，全新剧场破土而出，创新作品连绵不绝……当代的越剧故事正放声吟唱，余音袅袅。
漫步在杭州西湖区转塘街道的浙江音乐学院中，远远地就看到了浙江小百花越剧院的“一朵花”标志。2019年8月，浙江小百花越剧院正式挂牌成立。浙江越剧团和浙江小百花越剧团强强融合，继续演绎“女子越剧”和“男女合演”的精彩篇章。
越剧在短短百年间发展成熟起来，成为中华戏曲百花园中的奇葩，离不开时代的机遇与挑战。“我们26位第一批‘小百花’能够从全省70多家越剧团里脱颖而出，就是一种机遇。”原生代毕派小生、国家一级演员赵小珍回忆起自己在“小百花”度过的近40年时间，跟随着改革开放的步伐，走遍中国的大江南北，为人民抒怀歌唱的经历时依然心潮澎湃。
如今，无论是已公演近1000场的经典剧目《五女拜寿》，还是荣登首届国家舞台艺术十大精品剧目之列的转型之作《陆游与唐琬》，抑或是老百姓喜闻乐见的通俗喜剧《红丝错》，都在向我们细细讲述着“小百花”未完待续的传奇故事。
“越剧发展不仅需要创作高质量的剧目，推出高水平的演出，更重要的是善用现代化的传播工具，让更多优秀作品‘飞入寻常百姓家’。”待告别时，绯红的晚霞将我们的脸颊染得通红，赵小珍的谆谆叮嘱犹在耳畔。
越剧的薪火相传，还在于它深深扎根于民间。到黄龙洞看越剧，是许多杭州人的习惯。在黄龙洞景区的禧园大舞台上，一年365天，天天为观众奉献精彩的越剧表演。每一位表演者，都是科班出身的专业越剧演员，其中不乏国家一级演员，以及戏剧“梅花奖”获得者。黄龙越剧团这个有着32年历史的民营剧团，能演出50多台精彩折子戏，10多台大本戏。
据统计，全省民营越剧团多达数百家，受欢迎的越剧团一年演出多达五六百场，是浙江省舞台演出的主力军之一。
前人风韵传后代，艺海奔潮万古流。伫立在西湖边的中国越 · 剧场犹如一只巨大的“蝴蝶”，正振翅高飞。
“越剧百年的发展，走的是一条兼容并蓄、锐意进取的道路。一代又一代戏剧人继承创新，才使得越剧的发展达到了今天的艺术格局。越剧在继承传统的前提下，要有开拓时代精神需求、文化需求和审美需求的新境界。”著名越剧表演艺术家茅威涛期待，这座剧院能像伦敦西区一样，逐步形成驻演剧目的经典性，开启国内旅游观剧目的地的剧场形态。
回顾几代越剧人的进取与拼搏，钟冶平说，越剧的精神，实际上就是浙江人民开拓、拼搏的创业精神在文化方面的集中体现。越剧已经深深烙印在浙江人的精神血脉之中，她不仅是属于浙江，更是属于中国、属于全世界的精神财富。在越剧的一喜一悲一抖袖、一颦一笑一回眸间，我们见到了最真实的文华。
“The history of the Yueju opera is in fact the history of China’s social transformation in the last century，” according to Zhong Yeping， who has been shooting Yueju opera documentaries for the past thirty-odd years.
From luodi changshu， or singing out stories in the fields， to all-female troupes， from folk ballads to internationally recognized opera performance on the stage， Yueju opera has blended local people’s lives and the beautiful natural environment that has fed its growth， attracted hundreds of millions of fans and produced hundreds of plays and an ever-growing number of artists over the course of 114 years.
While it is now the second most popular Chinese opera， Yueju opera has a very humble beginning.
In 1906， a few villagers from Dongwang village， Ganlin township， Shengzhou city just returned home after performing in Waiwu village， Lin’an city. It was the Qingming Festival， or the Tomb Sweeping Day， when the Chinese people pay respects to their ancestors. As the villagers gathered at the ancestral hall， these village artists began to relate their stories of performances in other villages. “Why not you perform as a troupe？” So they did. With four rice buckets and two door planks， a makeshift stage was set up in front of the ancestral hall. And with the performances of these village artists， Yueju opera was born. “From the very first day， Yueju opera has been steeped in the Wuyue culture and infused with the down-to-earth spirit of the Zhejiang people，” said Zhong Yeping.
Back in the old days， when Shengzhou people were working in the fields， some self-entertaining villagers would sing to each other or to themselves， drawing folk stories， local gossips or personal experiences. Over time， “A unique tune， which the locals call sigong hediao， developed，” said Zhong Yeping. “It was so named because it combined folk melodies such as cow-herding songs， Buddhist chanting， and gongchepu， a traditional Chinese musical notation.”
The establishment of the very first troupe of Yueju opera in Dongwang village led to the mushrooming of similar troupes overnight. The early Yueju opera troupes were called Xiaogeban （literally “Small Singing Troupes”） or Diduban （literally “Didu Troupes”）， according to the Annals of Shaoxing City， as these troupes were consisted of only a small group of performers and used only small drums and wooden clappers as accompaniment （whose rhythmic beatings sound like di and du， hence the name Didu）.
Since these troupes were small in size， they were very mobile and able to perform in various places， even in areas with harsh conditions. Moreover， as these artists cared little for remuneration， they were wildly popular with the people.
“When Yueju opera was first put on the stage， the performers couldn’t do any movements， nor any postures， let alone those acrobatic skills that artists of other traditional operas are often familiar with，” said Yu Wei， head of the Yueju Opera Museum in Shengzhou. But they were eager to learn from established and bigger troupes from Yao opera， for example. “The costumes were either from robes and dresses from real life， which were then altered for the purpose of performing Yueju opera， or rented from troupes of other operas，” Yu added.
“My shadow’s followed by moonbeams， Until I reach Shimmering Streams [i.e. Shanxi River in Shengzhou city]，” Li Bai （701-762） wrote in his poem. Throughout history， men of letters who admired Shengzhou’s landscape had travelled to the place. During the High Tang period （ca. 650-755）， over 400 poets wrote more than 1，000 poems about Shengzhou， Shaoxing and its neighboring areas， laying a solid cultural foundation for the blooming of Yueju opera. However， one development that proved fateful for Yueju opera was its entry into Shanghai in the 1910s and 1920s. If Yueju opera had stayed in the fields or the immediate regions adjacent to its birthplace， it would never have attained the achievements that have taken it to such a height today.
“In August 1922， the Yueju opera troupe led by masters like Wang Yongchu， Bai Yumei and Ma Chaoshui went to perform in the Great World in Shanghai，” said Yu Wei， pointing at a yellowed clipping of Shen Bao （Shanghai News） collected in the museum. “The advertisement here called the opera ‘Shaoxing opera’， which is what Yueju opera is also known as.”
Gradually， Yueju opera gained more and more followers in Shanghai， with an increasing number of Yueju opera troupes venturing into the city. In early summer of 1947， to further develop Yueju opera and raise money to build opera schools， Yuan Xuefen， Yin Guifang， Fan Ruijuan， Fu Quanxiang， Xu Yulan， Zhu Shuizhao， Xiao Dangui， Zhang Guifeng， Xu Tianhong and Wu Xiaolou put on a benefit performance， and caused a great sensation. The “Ten Sisters of Yueju Opera”， as the ten artists are known， cemented Yueju’s status.
Today， the Yueju Opera Town in Shengzhou is making its mark， provincial opera troupes are consolidating resources to build more theaters and develop more plays， and private-run Yueju opera troupes in Zhejiang number in the hundreds， with those popular one giving 500 to 600 performances a year.
Indeed， looking back on the hard work of the past few generations of Yueju opera artists， their enterprising spirit is the cultural embodiment of the pioneering and entrepreneurial spirit of Zhejiang people. Yueju opera is not only Zhejiang’s cultural wealth， but also that of China and the whole world.