《主角》热播带火秦腔，年轻观众：演出现场更震撼！
双语君约 7 分钟“唱戏是在人多的地方唱主角，可生活中，常常是在没人的地方唱主角。”
一部剧带火一个剧种
由张艺谋监制、王菲献唱主题曲的电视剧《主角》一经播出便打破收视纪录，让已有600年文献记载历史、一度濒临失传的秦腔重新获得广泛关注。
A hit television epic executive-produced by legendary filmmaker Zhang Yimou has smashed prime-time ratings records and single-handedly sparked a national revival of Qinqiang, a 600-year-old Chinese opera form once teetering on the brink of obscurity.
该剧改编自茅盾文学奖获奖小说，开播数日内，该剧全国电视收视份额即超过4%，收官当天仍稳居央视黄金时段节目第一，创下央视三年来首播剧的最高纪录。
Zhu Jue, or Leading Role, a 48-episode series adapted from a Mao Dun Literature Prize-winning novel, concluded its run on China Central Television on Sunday, setting the broadcaster's highest prime-time viewership record for a first-run drama in the past three years.
故事讲述虚构的秦腔演员忆秦娥近半个世纪的跌宕人生——从传统秦腔“老戏”被禁、只允许革命样板戏的“文革”最后几年，一直演到当下。
The drama follows a fictional Qinqiang performer, Yi Qin'e, across nearly five decades. It begins in the final years of the "cultural revolution" (1966-76), when traditional Qinqiang operas were banned and only revolutionary performances allowed, and concludes in the present day.
剧场场场爆满，年轻观众大增
对于秦腔——这种以高亢唱腔、铿锵锣鼓和原始情感表达著称的戏曲形式——突如其来的主流关注为其拓展新观众提供了难得机遇。
《主角》戏曲总顾问、陕西省戏曲研究院院长李梅告诉中国日报记者，剧集的热播带来了流量红利，本院线下剧场场场爆满，大量外地游客专程来西安看戏。广州、深圳、上海、苏州等南方多地演出商发来商业邀约，打破了过去秦腔仅局限西北地区巡演的局面。
For Qinqiang — a form of opera known for its piercing vocals, rhythmic percussion and emotionally raw storytelling — the sudden mainstream spotlight offers a rare opportunity to reach new audiences, said Li Mei, president of the Shaanxi Opera Research Institute, and the drama's chief opera consultant.
她表示，短期流量难以长效留存，秦腔工作者们需要借助热度打磨优质剧目留住观众。
But Li is cautious about maintaining the sudden overwhelming popularity. "Short-term buzz is hard to sustain," she said. "We need to take advantage of the current attention to refine our productions and keep the audience coming back."
全国巡演一票难求，年轻人说现场更震撼
该院新媒体编导苏渊博表示，电视剧《主角》播出后，陕西省戏曲研究院近期在上海红梅园的演出因包含吹火、卧鱼儿等绝技，首场售罄，次日大量慕名观众到场，一票难求；在北京国家大剧院上演《红河谷》时，不少年轻观众受剧集影响专门购票观演，实地看完演出后普遍评价秦腔实景演出优于剧中片段。陕西省戏曲研究院日常剧场新增大批因剧集慕名而来的观众。
他指出，十年前剧场观众多为中老年，如今场内年轻观众占比大幅提升。
The institute's touring performances are also selling out across the country, Su Yuanbo, a digital media director at the institute, told China Daily. A Shanghai performance featuring fire-blowing and other rare techniques sold out in minutes, he said. After a performance in Beijing, the young audience members who bought tickets because of the series said the live opera was even better than what they saw on television.
"A decade ago, the crowd was mostly older. Today, the proportion of young people has jumped significantly," Su said.
秦腔演员：忆秦娥的故事就是真实写照
对秦腔从业者来说，这部剧真实地刻画了他们的成长起点——提醒人们，成为“主角”的道路漫长而残酷。李梅院长说，真正的“角儿”需要历经无数磨难，在台上承担最重的戏份，在台下忍受常人难以想象的苦楚。
For Qinqiang performers, the drama offers a painfully accurate depiction of their own beginnings — a reminder that the road to stardom is long and brutal. … Achieving that status means enduring countless hardships, bearing the heaviest burden on stage and suffering what ordinary people cannot imagine offstage.
陕西省戏曲研究院三团演员陈黎10岁开始学秦腔，16岁考入研究院，却在剧团跑了近十年龙套，演无名宫女和配角，几乎要放弃。师傅告诉她：“机会总是留给用心准备的人。”如今36岁的她已入行26年，开始担纲主演。
陈黎说：“忆秦娥不指代单个演员，她的从业经历是全体秦腔演员的共同写照。”
Chen Li began learning Qinqiang at age 10 and became an actress at the institute six years later. She spent her first decade in the troupe playing nameless extras and palace maids, and she nearly quit. "The opportunities will eventually come to those who are prepared," she recalled her mentor telling her. Now 26 years into her career, the 36-year-old performs leading roles.
"Yi Qin'e does not represent any single performer," Chen said. "Her career journey is a shared portrait of every Qinqiang actor."
另一位演员付鑫瑶入行24年，年少进入研究院学员班，住集体住宿、与同伴磨合相处；从基本功训练起步，先打磨折子戏，再慢慢尝试整本“大戏”角色，成长历程和忆秦娥基本一致。
Fu Xinyao, a performer with 24 years of experience, began training as a young apprentice — a path that closely mirrors that of the drama's heroine.
她回忆道，自己不带妆排练时表演状态尚可，但戏曲头饰负重很大，正式包头扮戏后，头部负担会分散表演时的注意力，需要长期磨合适应妆造与舞台表演的配合。
"During rehearsals without the full costume, my performance is decent. But once I put on the headpieces, the weight is distracting. It takes years to get used to how the costume interacts with your acting."
研究院：像文物修复师一样保护秦腔
陕西省戏曲研究院成立于1938年，早在该剧将秦腔推上全国舞台之前，就长年致力于推广和保存陕西地方戏。
The Shaanxi Opera Research Institute, founded in 1938, has promoted and preserved Shaanxi operas long before the blockbuster TV drama thrust it into the national spotlight.
李梅表示，研究院曾赴荷兰、芬兰、比利时、丹麦等数十个国家交流。2019年在巴黎，她曾在无实景布景、无氛围灯光的情况下“裸演”碗碗腔（陕西省地方剧种之一）《杨贵妃》，其中马嵬坡的抒情唱段打动现场法国观众，演出结束后观众集体起立长时间鼓掌，李梅看到一位法国老人潸然泪下。
一出文戏《杨贵妃》却让全场动容，演员们多次谢幕，现场掌声雷动。李梅不禁感慨，世界人民的情感是相通的，不应低估外国观众对中华文化的理解力。秦腔要更自信地走出去，把最好的艺术传递给世界。
The Shaanxi Opera Research Institute has toured the Netherlands, Finland, Belgium, Denmark and dozens of other countries. In Paris in 2019, the troupe performed a stripped-down version of Yang Guifei, a tragic love story about a legendary Tang Dynasty (618-907) imperial concubine, with no elaborate sets or atmospheric lighting.
She said human emotions transcend borders and that foreign audiences are often more receptive to Chinese culture than many assume. She believes Qinqiang should be promoted with confidence, bringing its finest artistic traditions to audiences around the world.
李梅认为，热播电视剧打开了大众认识秦腔的窗口，戏曲从业者需要像文物修复师一样，修缮保护传统戏曲资源。她正在推进“大秦腔”赓续工程，系统性整理陕西本土二十余个地方戏曲，完整留存剧本、配乐、舞台影像资料，记录老艺术家口述历史，为后辈学习留存完整范本。
She is leading a project to systematically archive more than 20 local opera genres in Shaanxi, preserving scripts, scores, stage recordings and oral histories of veteran artists.
"Theater practitioners need to work like cultural relic restorers — repairing and protecting traditional opera resources," Li said.
李梅还告诉记者，古时候普通百姓缺少受教育途径，而戏曲能够依托剧目来传递忠孝节义、家国情怀等传统价值观。
秦腔源自生命的呐喊，所有优秀的艺术都离不开真善美，李梅说。
Li said opera has long served a moral purpose — transmitting loyalty, filial piety and patriotism in times when few people had formal education. "All great art is rooted in truth, goodness and beauty," she said.
记者：李磊
编辑：夏梦晨
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