人文湖南︱慢品社区老房子 · 华亭路71弄5号（丁是娥旧居） / 开普饭

丁是娥

（1923—1988）

浙江湖州人，原名潘咏华，沪剧表演艺术家9岁开始学沪剧，12岁参加演出，18 岁满师，先后应聘到鸣英剧团等艺术团体当演员。1947年秋组织上艺沪剧团，成为台柱。1949年，上海解放不久，就带头演《赤叶河》《小二黑结婚》等新戏，后在《罗汉钱》《金莱》《鸡毛飞上天》《芦荡火种》等沪剧中任主要角色。其演唱艺术精湛，并形成绮丽多变、独树一帜的丁派唱腔。曾在上海市戏曲竞赛、华东戏曲会演及全国戏曲观摩演出中获一等奖。曾任上海沪剧团团长兼艺委会主任、上海沪剧院名誉院长。曾当选为上海市人大代表、全国人大代表、全国政协委员、全国文联委员，任中国剧协上海分会副主席，并荣获全国“三八红旗手”和“上海市模范共产党员”称号1988 年6 月 28 日在上海病逝。

吹蜡烛

1954 年的华东戏曲会演上，丁是娥因成功主演沪剧《金黛莱》而荣获一等奖。她没有因此而沾沾自喜，相反却寻找起差距。她发现自己在发声换气上不太科学，就想到了歌唱家们的用气方法。电影导演张骏祥曾帮助执导过沪剧《罗汉钱》，其爱人周小燕是著名女高音歌唱家。于是，丁是娥虚心上门请教。周小燕毫无保留，在传授运气技巧的同时，说到“气长”是关键，建议她练习吹蜡烛。

丁是娥真当一回事，回到华亭路的家中就开始练习。她在桌上放几支点燃的蜡烛，隔一段距离吸足气使劲吹，吹灭了再点上，虽枯燥无味，却每天坚持训练。经过一段时间的苦练，她离开放蜡烛的桌子越来越远，吹气的力度越来越大。与此同时，她慢慢练习科学运气。

这，真的管用。科学运气为她后来发展和丰富“丁派唱腔”起了大作用。

沪剧《朵朵红云》中那段“长江滚滚向东流”的“快流水”脍炙人口，至今在观众中传唱不绝。那是丁是娥从京剧传统曲牌“流水”中受到启发而创造的一种崭新的沪剧板式，在演唱这段时正确用气是关键。在《鸡毛飞上天》“教育虎荣”的演唱中，丁是娥冲破“赋子板”从慢到快的传统唱法，当唱到“早思想、夜成梦，盼望有一天，能够堂堂皇皇进课堂”时，有意识地把节奏放慢，唱得委婉而又深情，细致入微地抒发了林佩芬在旧社会因贫苦而失学的不平静心绪。这是她对沪剧“反阴阳”曲调的巧妙运用。这种方法后来又用在演唱《罗汉钱》的“回忆”、《雷雨》中的“盘凤”中。特别是唱《甲午海战》中“祭海”时，“盼你们”这三个字的唱，她能一口气拖十板，以表现金堂妈怀念亲人悲痛欲绝的心境，真是声情并茂、淋漓尽致。

作为沪剧的一代宗师，丁是娥创造的丁派艺术敢于标新立异，无论对润腔处理、节奏力度，还是感情色彩都有发展变化，真正做到声随情走，因人定腔，绮丽婉转，曲折多变。她能在艺术上取得杰出的成就，这与她对其他门类艺术的借鉴和忘我的执着追求是分不开的。

华亭路71弄5号

丁是娥旧居位于华亭路 71 弄 5号，该幢房屋为花园住宅。房屋为二层砖木结构，一层设有架空层，建筑平面近似凸形，其中北立面突出。房屋外立面形式简洁，为淡黄色水泥拉毛墙面，南立面设有木结构雨棚，层间有腰檐矩形钢门窗，红砖砌筑窗台，红筒瓦坡屋盖，木结构挑檐。一层入口位于房屋北侧，入户为厨房，地面铺设马赛克瓷砖。沿走道向里，东侧为客厅、内阳台，西侧为木结构单跑楼梯、木踏步、木扶手。二层西侧为卫生间和走道，东侧为居住房间。室内走道及房间楼面基本为硬木长条地板、白色涂料内墙面。房屋南侧有花园，与相邻房屋花园以矮墙相隔。

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DING Shi’e

DING Shi’e (1923-1988) has her ancestral family from Huzhou in Zhejiang province. She had a former name of PAN Yonghua and was known as a performing artist of Shanghai opera. At the age of 9, she began to learn it and at the age of 12 she participated in the performance. After she graduated at the age of 18, she served as an actress in such art troupes as Mingying Troupe at their invitation. In the autumn of 1947 she organized the Shanghai Troupe and played leading roles. Soon after the liberation of Shanghai in 1949, she took the lead to perform new operas like in the Red Leaf River, The Marriage of Young Blacky and others, and later played leading roles in such Shanghai operas as Arhat Coin, JIN Dailai, A Chicken Feather Flies up to Heaven, Preserving the Fire in Reed Marshes and others. Her singing art reached a consummate status, forming her own unique singing style which is beautiful and changeable. Once she won the first prize in Shanghai Opera Competition, East China Opera Joint Performance and National Opera Performance for Communication. She once served as the head and art director of Shanghai Opera Troupe, and honorary president of Shanghai Opera Theater. Also she was elected as representative of the Shanghai Municipal People’s Congress and the National People’s Congress, member of the CPPCC National Committee, member of the National Federation of Literary and Art Circles. In addition she served as the vice chairman of the Chinese Drama Association Shanghai Branch. Moreover, she was awarded the titles of “March Eighth Red-Banner Pacesetter” and Shanghai Model CPC Member. On June 28, 1988, she passed away of illness in Shanghai.

Blowing Candles

At the East China Opera Joint Performance in 1954, DING Shi’e won the first prize for starring in the Shanghai opera JIN Dailai. Instead of feeling complacent for it, she looked for gaps. She found that she was not scientific in sound production and breath exchange and thought about methods of breathing of singers. The film director ZHANG Junxiang once helped direct the Shanghai opera Arhat Coin and his wife ZHOU Xiaoyan was a famous soprano. So she went to visit her for advice with an open mind. ZHOU instructed her without reservation, teaching her skills of using breath and at the same time focusing on the importance of “breath length” with a suggestion that she should practice blowing candles.

She took it seriously and started the practice as soon as she was back at home on Huating Road. Putting a few lightened candles on the table, she breathed fully and blew with force in a certain distance. After blowing out candles, she lightened them again. Though dull, she insisted on training every day. After a period of training with efforts, she stood farther and farther from the table with candles and she blew with growing strength. At the same time, she gradually practiced scientific use of breath.

1952 年，上海沪剧团丁是娥（左）、筱爱琴

演出沪剧《罗汉钱》

In 1952, Arhat Coin performed by DING

Shi’e (left) and XIAO Aiqin.

This practice really worked. The scientific use of breath played a big role forher later development and enrichment of the “DING Style Singing”.

The Shanghai opera Red Clouds had one section of “the Yangtze River rolling eastward” which was universally praised and so far sung continuously by the audience. It was a new tune of Shanghai opera she created on the basis of inspiration from a kind of tune “running water” from the traditional Beijing opera. In the singing of this section the correct use of breath was the key. Moreover, in singing the section of “Educating Hurong” in A Chicken Feather Flies up to Heaven, she broke through the traditional singing method from slow to fast. When singing the part “thinking in the morning and dreaming at night, I hope that one day I could attend school with good reasons”, she consciously slowed down the pace and sang with twists and turns as well as affections, which meticulously expressed the restless mood of the heroine LIN Peifen who dropped out in the old society because of poverty. This singing represented her smart application of the tune “anti-yin-yang” in Shanghai opera. This method was later used in singing the part of “memories” in Arhat Coin, and the section of “questioning Sifeng” in Thunderstorm. In particular, in singing the part of “offering sacrifice to the sea” in Resisting-Japanese War at Sea, she could last for ten meters in one breath in singing the three words “I hope you”, to show the state of mind of mother of JIN Tang who missed her beloved ones. The singing was really wonderful with a silver voice and deep feeling and was also most vivid and incisive.As a master of the Shanghai opera for a generation, she created the art of DING Style and had the bravery to be unconventional.In the treatment of singing style, rhythm and force, as well as in emotional coloring, she made development and changes, really realizing the effect of combining voice and emotion, and dependence of singing style on characters. Her singing was truly characterized by beauty and melody, and twists and turns. If she could actualize outstanding achievements in art, it was inseparable from her persistent pursuit of other categories of art for reference.

Introduction to Architecture

The former residence of DING Shi’e is located at No. 5 in Alley 71 on Huating Road which is a garden house. With a two-story structure of brick and wood, the first floor has a layer built on stilts. The plane of the building is close to the shape of convex, in which the north facade projects. The exterior facade of the house enjoys simplicity and conciseness and walls have a cement napped surface of light yellow. The south facade is equipped with wooden structure canopy and there are belt eaves between floors. Steel doors and windows are rectangular. Red bricks are used for the masonry of windowsill. The roof has red tiles on slope with wooden structure eaves. The entrance of the first floor is at the north side. Inside the doorway is the kitchen with mosaic ceramic tiles for the floor along the aisle. At the east side there are the living room and the inner balcony; at the west side there are the wooden structure stairs with wooden steps and wooden handrails. On the second floor there are the bathroom and the aisles at the west side; at the east side are the bedrooms. Indoor aisles and the floors are basically featured with hardwood floor boards and white paint interior walls. There is a small garden on the south side of the building, separated by a low wall from the neighboring gardens.