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今天夏天，16岁的邢邑青出了温州苍南火车站后，又坐了一个半小时汽车才到达泰顺，再经过蜿蜒的山道，来到翁山社区梨垟村。
层峦叠嶂，绿树成阴，他站在听得到鸟鸣、推窗就是群山的“翁山书院”讲台上，看着眼前的同龄人，感觉像一场梦一样。
几天前，他还在美国，刚刚在南加州大学完成了为期一个月的夏季表演课程，和同学排练了莎士比亚的戏剧《仲夏夜之梦》。没想到，几天之后，他回到家乡浙江，竟能为大山里20多个孩子，排一出他写的戏，还是用英语演的，叫《等明天》。
爸爸邢岷山和妈妈钮晓晴坐在教室的最后排。邢岷山是著名的昆剧演员，后来又演影视剧，最近的作品是在《琅琊榜2》里饰演段桐舟。
下一堂课，轮到他的外公钮骠——著名的戏曲评论家、教授，和外婆沈世华——昆剧艺术教育史上第一位女教授，去年77岁了还在台上演《牡丹亭》里的杜丽娘。两位加起来已经164岁的艺术家为孩子们带来《20世纪昆曲前世今生》的讲座。
这个艺术世家，五口，三代人，连续两年暑假，都会来到这个地处深山的地方，支教。
邢岷山的朋友——毕业于中国美术学院国画系与雕塑系的翁志丹、曾齐宝，都是地道的泰顺人，从小受宗族乡贤照拂。2016年冬，他们在家乡建立翁山书院。每逢寒暑假，请来中国美院的老师、文艺界的学者专家，为泰顺的孩子免费开设书法、绘画、国学等课程。
去年暑假，邢邑青就跟着家人来了。孩子们对这个人高马大、风趣幽默的哥哥很是亲切，知道他从美国来，更是好奇，一下课就围着他问东问西。来上课的孩子们跟他同龄，但大多数人去过的最远的地方只是最近的瑞安，连温州市区都没去过。
所以今年一到书院，邢邑青先做了一个小讲座，题目是《中美教育环境的差异》。他主讲，家属们配合。
刚到翁山的第一天，崎岖不平的山路让外婆沈世华扭伤了脚，她忍着疼为孩子们表演了昆剧《牡丹亭·游园》片段。“外婆演了一辈子杜丽娘，这还是她第一次一脚穿着拖鞋、一脚穿着球鞋演完她的《牡丹亭》。”邢邑青笑着说。
他发现，很多孩子都对表演很有兴趣。
“我发现了一个有趣的现象：大多数孩子都有一颗文艺的心。如果你问他理想，得到的答案也许都与艺术有关——跳舞、唱歌、画画、当明星、当摄影师……这些美好的愿望不会因为身处城市、乡村而有所不同。只是这里的孩子，没有机会得到优质的教育。” 邢邑青说。
2011年以前，翁山还是一个“乡”，大部分人都出去打工了，很多孩子也就成了留守儿童。
有一次，邢邑青和男孩翁国雍聊天。翁国雍在县城的寄宿中学读书，很独立。但聊天时，邢邑青感觉他的神情很紧绷，小动作很多，手一直掐着，有一种释放不出来的紧张。
邢邑青从小学表演，知道戏剧有疗愈作用，这在国外一直被视为戏剧最重要的社会意义。
他也想在这里试一试，“也给他们打开一扇门，看看外面的世界是怎么样的。”
第一堂英语表演课，邢邑青用英语说了半小时，结果一片寂静。为了让大家玩起来，他设计每堂课一半时间练习日常口语，一半时间排演英语舞台剧。他带着孩子们坐在蒲团上，读剧本，做游戏，放松身体，彼此了解。
邢邑青没有选择那些莎士比亚的经典剧目，觉得离孩子们太远。他想起自己正在写的童话剧《等明天》，讲的是一只小猴子的故事，“对，就排这个。”
男孩翁俊豪和邢邑青同岁，长得特别机灵，被选中演“男一号猴子”。得知自己要当主角的那天晚上，翁俊豪骑着自行车，沿着山路，到了邢邑青住的地方，聊了4个小时，交流台词该怎么背，怎么准确发音。
有天晚上8点多，邢邑青收到了翁俊豪爸爸发来的微信，翁爸爸刚从苏州回老家。“自从翁俊豪去書院认识老师之后，好像变了个人，学习的欲望特别强烈。我会让他好好加油的。”
“感觉自己影响到了别人的人生，兴奋，也有一点压力。”邢邑青一个晚上没睡着，“大家都需要成长，包括我自己。孩子在成长的过程中都需要外界的鼓励，但他们从小获得的鼓励太少了。”
最后一节英语表演课，15分钟的《等明天》谢幕，孩子们叽叽喳喳，有的还演哭了，情感完全释放。
邢邑青很想拍一部纪录片，给美国的老师和同学看看，中国的文化在一个16岁男孩的眼中是怎样的。他本来打算记录一位昆曲武生的日常，但和这些孩子们相处后，他决定记录这些大山里的孩子，题目就叫《翁山的孩子》。
他把想法告诉了他在美国的两个老师，其中一位是美国南加州大学的电影研究专家骆思典教授（Stanley Rosen），他研究中国30余年，非常赞同邢邑青的想法。
邢邑青随机找了10个孩子，这也是他第一次用采访的方式，与他们沟通。
“这些山里的孩子很淳朴，很快乐，但他们也容易情绪化，生活中遇到的困难或者委屈，因为父母不在身边，只能憋在心里。当父母的爱在童年中缺失，终究会有些遗憾。”
邢邑青打算把纪录片制作剪辑后，放给他在美国的老师同学们看，“我要让世界了解中国乡村的美，了解乡村的故事。乡村孩子的教育，也需要更多的人重视。”
两次进山，邢邑青都被那条蜿蜒曲折的盘山公路绕得七荤八素。但他跟孩子们约定，明年暑假，他一定会带着纪录片，再进翁山。
16-Year-Old Teaches English Performing in Mountain School
By Ma Li， Yang Linxi
This summer， the 16-year-old Xing Yiqing ran an English performing course in Liyang Village in mountains in Taishun County in southern Zhejiang. He reached Cangnan， a county-level city near Wenzhou， by train. Then he took a one-and-half-an-hour bus ride to Taishun before he trekked along a zigzagging path to arrive at the village. From the classroom at Wengshan Academy in the village， the teenage teacher could see peaks and woods and hear the chirps of birds. All of his students were his teenage contemporaries.
Just a few days before， he had finished a one-month summer performance course at University of Southern California. He and his classmates rehearsed and performed A Midsummer Night’s Dream by William Shakespeare. At the village academy， he was going to direct a show titled Wait for Tomorrow in English， a play he wrote.
His father Xing Minshan and his mother Niu Xiaoqing sat at the back of the classroom. The father is a celebrated Kunqu Opera actor who now often appears in television series. The next course was taught by Xing Yiqing’s maternal grandparents Niu Biao and Shen Shihua. Niu Biao is a theater critic and professor and Shen Shihua is also a professor specialized in Kunqu Opera.
In 2017 and 2018， the five members of the family taught an education course in the mountains of Taishun during the summer break.
Wengshan Academy was set up in the winter of 2016 by Weng Zhidan and Zeng Qibao， two graduates from China Academy of Art based in Hangzhou. They are natives of Taishun. The two invite teachers from China Academy of Art and other cultural institutions to run free courses in calligraphy， painting， and Chinese classics at the village.
Xing Yiqing visited the Wengshan Academy in the summer of 2017. The teenagers at the academy were curious about this tall young teenager who had just returned from America. They asked him a lot of questions about the outside world. Though they were of the same age， most children at the village have seen little of the outside world. Some had visited Rui’an， a county-level city about 95 kilometers away. None had visited Wenzhou， the central city in southeastern Zhejiang， which is about 150 kilometers away from Taishun.
Xing Yiqing found that most students at the academy were interested in performance. When asked about their dreams， they gave answers largely in art- and culture-related fields. One wanted to be a dancer， the other wanted to be a singer， some wanted to be artists， one wanted to be a pop star， and one wanted to be a photographer. “These aspirations are universal no matter whether you are in a city or in a village，” commented the 16-year-old Xing Yiqing.
Wengshan was a rural town where many adults are working away from home， with their children left behind in villages. In a chat with Weng Guoyong， who studied at a boarding school in the county capital， Xing Yiqing found Weng was intensely emotional， moving his hands constantly. Xing sensed that there was a pent-up intensity inside Weng waiting to find a way out. Xing Yiqing， a student who began to learn performance from a very young age， knew the signs pretty well. He understands that theater performs a soothing therapeutic function， which is considered the most important role theater plays in a society. That is exactly why Xing Yiqing wanted to do： open a door for them to take a look at the outside world. Waiting for Tomorrow， a play about a monkey， was perfect for the teenagers at the academy， thought Xing Yiqing.
Weng Junhao， also 16 years old， came to visit Xing Yiqing in the evening after he knew he was picked for playing the role of the monkey. The 16-year-old student and the 16-year-old teacher talked about the play for about four hours.
A few days later， Xing Yiqing received a text message from Weng Junhao’s father， who had just returned from Suzhou. The text message was about the positive changes taking place in the son. “Weng Junhao has changed since he met you at the academy. He now has a strong urge to study and learn. I will help him do his best， ” texted the father.
Xing Yiqing was sleepless that night. “It is exciting to know someone’s life has changed because of me. This， however， also brings pressure on me，” said Xing. “All people need to grow up， including myself. All children need positive feedback when growing up. The children here hardly receive encouragement.”
The 15-minute play was a success. After the performance， the students were excited for a long while， some chatting enthusiastically， some applauding， some even weeping.
In the summer of 2018， Xing Yiqing did more than directing an English play. He also shot a short documentary. He had planned to document a martial art player in a Kunqu Opera Troupe. But seeing the children at the academy， he changed his mind. To get a different documentary， he talked with two of his teachers at the university. One of them was Stanley Rosen， who has studied China for over 30 years and supported Xing Yiqing’s new idea.
Xing randomly chose ten students at the academy and interviewed them. “They are honest and simple and they can feel happy easily. But they are also emotional. They can’t tell anybody about their difficulties and wrongs they encounter since their parents are not at home. There will be a regret resulted from the lack of immediate care and love of their parents in their lives，” commented Xing.
He plans to show the documentary to his teachers and classmates in America after he completes the film. “I hope to let the world see China’s rural beauty and learn about rural stories. Education in rural areas should get more support，” explained Xing Yiqing.
Xing Yiqing has already made up his mind to come back with the documentary in 2019 to visit Wengshan Academy.
层峦叠嶂，绿树成阴，他站在听得到鸟鸣、推窗就是群山的“翁山书院”讲台上，看着眼前的同龄人，感觉像一场梦一样。
几天前，他还在美国，刚刚在南加州大学完成了为期一个月的夏季表演课程，和同学排练了莎士比亚的戏剧《仲夏夜之梦》。没想到，几天之后，他回到家乡浙江，竟能为大山里20多个孩子，排一出他写的戏，还是用英语演的，叫《等明天》。
爸爸邢岷山和妈妈钮晓晴坐在教室的最后排。邢岷山是著名的昆剧演员，后来又演影视剧，最近的作品是在《琅琊榜2》里饰演段桐舟。
下一堂课，轮到他的外公钮骠——著名的戏曲评论家、教授，和外婆沈世华——昆剧艺术教育史上第一位女教授，去年77岁了还在台上演《牡丹亭》里的杜丽娘。两位加起来已经164岁的艺术家为孩子们带来《20世纪昆曲前世今生》的讲座。
这个艺术世家，五口，三代人，连续两年暑假，都会来到这个地处深山的地方，支教。
一群同龄的孩子
邢岷山的朋友——毕业于中国美术学院国画系与雕塑系的翁志丹、曾齐宝，都是地道的泰顺人，从小受宗族乡贤照拂。2016年冬，他们在家乡建立翁山书院。每逢寒暑假，请来中国美院的老师、文艺界的学者专家，为泰顺的孩子免费开设书法、绘画、国学等课程。
去年暑假，邢邑青就跟着家人来了。孩子们对这个人高马大、风趣幽默的哥哥很是亲切，知道他从美国来，更是好奇，一下课就围着他问东问西。来上课的孩子们跟他同龄，但大多数人去过的最远的地方只是最近的瑞安，连温州市区都没去过。
所以今年一到书院，邢邑青先做了一个小讲座，题目是《中美教育环境的差异》。他主讲，家属们配合。
刚到翁山的第一天，崎岖不平的山路让外婆沈世华扭伤了脚，她忍着疼为孩子们表演了昆剧《牡丹亭·游园》片段。“外婆演了一辈子杜丽娘，这还是她第一次一脚穿着拖鞋、一脚穿着球鞋演完她的《牡丹亭》。”邢邑青笑着说。
他发现，很多孩子都对表演很有兴趣。
“我发现了一个有趣的现象：大多数孩子都有一颗文艺的心。如果你问他理想，得到的答案也许都与艺术有关——跳舞、唱歌、画画、当明星、当摄影师……这些美好的愿望不会因为身处城市、乡村而有所不同。只是这里的孩子，没有机会得到优质的教育。” 邢邑青说。
一堂表演体验课
2011年以前，翁山还是一个“乡”，大部分人都出去打工了，很多孩子也就成了留守儿童。
有一次，邢邑青和男孩翁国雍聊天。翁国雍在县城的寄宿中学读书，很独立。但聊天时，邢邑青感觉他的神情很紧绷，小动作很多，手一直掐着，有一种释放不出来的紧张。
邢邑青从小学表演，知道戏剧有疗愈作用，这在国外一直被视为戏剧最重要的社会意义。
他也想在这里试一试，“也给他们打开一扇门，看看外面的世界是怎么样的。”
第一堂英语表演课，邢邑青用英语说了半小时，结果一片寂静。为了让大家玩起来，他设计每堂课一半时间练习日常口语，一半时间排演英语舞台剧。他带着孩子们坐在蒲团上，读剧本，做游戏，放松身体，彼此了解。
邢邑青没有选择那些莎士比亚的经典剧目，觉得离孩子们太远。他想起自己正在写的童话剧《等明天》，讲的是一只小猴子的故事，“对，就排这个。”
男孩翁俊豪和邢邑青同岁，长得特别机灵，被选中演“男一号猴子”。得知自己要当主角的那天晚上，翁俊豪骑着自行车，沿着山路，到了邢邑青住的地方，聊了4个小时，交流台词该怎么背，怎么准确发音。
有天晚上8点多，邢邑青收到了翁俊豪爸爸发来的微信，翁爸爸刚从苏州回老家。“自从翁俊豪去書院认识老师之后，好像变了个人，学习的欲望特别强烈。我会让他好好加油的。”
“感觉自己影响到了别人的人生，兴奋，也有一点压力。”邢邑青一个晚上没睡着，“大家都需要成长，包括我自己。孩子在成长的过程中都需要外界的鼓励，但他们从小获得的鼓励太少了。”
最后一节英语表演课，15分钟的《等明天》谢幕，孩子们叽叽喳喳，有的还演哭了，情感完全释放。
一部乡村纪录片
邢邑青很想拍一部纪录片，给美国的老师和同学看看，中国的文化在一个16岁男孩的眼中是怎样的。他本来打算记录一位昆曲武生的日常，但和这些孩子们相处后，他决定记录这些大山里的孩子，题目就叫《翁山的孩子》。
他把想法告诉了他在美国的两个老师，其中一位是美国南加州大学的电影研究专家骆思典教授（Stanley Rosen），他研究中国30余年，非常赞同邢邑青的想法。
邢邑青随机找了10个孩子，这也是他第一次用采访的方式，与他们沟通。
“这些山里的孩子很淳朴，很快乐，但他们也容易情绪化，生活中遇到的困难或者委屈，因为父母不在身边，只能憋在心里。当父母的爱在童年中缺失，终究会有些遗憾。”
邢邑青打算把纪录片制作剪辑后，放给他在美国的老师同学们看，“我要让世界了解中国乡村的美，了解乡村的故事。乡村孩子的教育，也需要更多的人重视。”
两次进山，邢邑青都被那条蜿蜒曲折的盘山公路绕得七荤八素。但他跟孩子们约定，明年暑假，他一定会带着纪录片，再进翁山。
16-Year-Old Teaches English Performing in Mountain School
By Ma Li， Yang Linxi
This summer， the 16-year-old Xing Yiqing ran an English performing course in Liyang Village in mountains in Taishun County in southern Zhejiang. He reached Cangnan， a county-level city near Wenzhou， by train. Then he took a one-and-half-an-hour bus ride to Taishun before he trekked along a zigzagging path to arrive at the village. From the classroom at Wengshan Academy in the village， the teenage teacher could see peaks and woods and hear the chirps of birds. All of his students were his teenage contemporaries.
Just a few days before， he had finished a one-month summer performance course at University of Southern California. He and his classmates rehearsed and performed A Midsummer Night’s Dream by William Shakespeare. At the village academy， he was going to direct a show titled Wait for Tomorrow in English， a play he wrote.
His father Xing Minshan and his mother Niu Xiaoqing sat at the back of the classroom. The father is a celebrated Kunqu Opera actor who now often appears in television series. The next course was taught by Xing Yiqing’s maternal grandparents Niu Biao and Shen Shihua. Niu Biao is a theater critic and professor and Shen Shihua is also a professor specialized in Kunqu Opera.
In 2017 and 2018， the five members of the family taught an education course in the mountains of Taishun during the summer break.
Wengshan Academy was set up in the winter of 2016 by Weng Zhidan and Zeng Qibao， two graduates from China Academy of Art based in Hangzhou. They are natives of Taishun. The two invite teachers from China Academy of Art and other cultural institutions to run free courses in calligraphy， painting， and Chinese classics at the village.
Xing Yiqing visited the Wengshan Academy in the summer of 2017. The teenagers at the academy were curious about this tall young teenager who had just returned from America. They asked him a lot of questions about the outside world. Though they were of the same age， most children at the village have seen little of the outside world. Some had visited Rui’an， a county-level city about 95 kilometers away. None had visited Wenzhou， the central city in southeastern Zhejiang， which is about 150 kilometers away from Taishun.
Xing Yiqing found that most students at the academy were interested in performance. When asked about their dreams， they gave answers largely in art- and culture-related fields. One wanted to be a dancer， the other wanted to be a singer， some wanted to be artists， one wanted to be a pop star， and one wanted to be a photographer. “These aspirations are universal no matter whether you are in a city or in a village，” commented the 16-year-old Xing Yiqing.
Wengshan was a rural town where many adults are working away from home， with their children left behind in villages. In a chat with Weng Guoyong， who studied at a boarding school in the county capital， Xing Yiqing found Weng was intensely emotional， moving his hands constantly. Xing sensed that there was a pent-up intensity inside Weng waiting to find a way out. Xing Yiqing， a student who began to learn performance from a very young age， knew the signs pretty well. He understands that theater performs a soothing therapeutic function， which is considered the most important role theater plays in a society. That is exactly why Xing Yiqing wanted to do： open a door for them to take a look at the outside world. Waiting for Tomorrow， a play about a monkey， was perfect for the teenagers at the academy， thought Xing Yiqing.
Weng Junhao， also 16 years old， came to visit Xing Yiqing in the evening after he knew he was picked for playing the role of the monkey. The 16-year-old student and the 16-year-old teacher talked about the play for about four hours.
A few days later， Xing Yiqing received a text message from Weng Junhao’s father， who had just returned from Suzhou. The text message was about the positive changes taking place in the son. “Weng Junhao has changed since he met you at the academy. He now has a strong urge to study and learn. I will help him do his best， ” texted the father.
Xing Yiqing was sleepless that night. “It is exciting to know someone’s life has changed because of me. This， however， also brings pressure on me，” said Xing. “All people need to grow up， including myself. All children need positive feedback when growing up. The children here hardly receive encouragement.”
The 15-minute play was a success. After the performance， the students were excited for a long while， some chatting enthusiastically， some applauding， some even weeping.
In the summer of 2018， Xing Yiqing did more than directing an English play. He also shot a short documentary. He had planned to document a martial art player in a Kunqu Opera Troupe. But seeing the children at the academy， he changed his mind. To get a different documentary， he talked with two of his teachers at the university. One of them was Stanley Rosen， who has studied China for over 30 years and supported Xing Yiqing’s new idea.
Xing randomly chose ten students at the academy and interviewed them. “They are honest and simple and they can feel happy easily. But they are also emotional. They can’t tell anybody about their difficulties and wrongs they encounter since their parents are not at home. There will be a regret resulted from the lack of immediate care and love of their parents in their lives，” commented Xing.
He plans to show the documentary to his teachers and classmates in America after he completes the film. “I hope to let the world see China’s rural beauty and learn about rural stories. Education in rural areas should get more support，” explained Xing Yiqing.
Xing Yiqing has already made up his mind to come back with the documentary in 2019 to visit Wengshan Academy.