人文湖南 | 慢品社区老房子 · 俞振飞旧居五原路258号
俞振飞旧居 五原路258号
俞振飞旧居位于五原路258号协发公寓，建于1933年，著名建筑师范文照设计，建筑面积2128平方米，占地面积441平方米，混合结构四层（现五层），平面长方形，为现代风格的成套公寓住宅。公寓三层楼东边的一组套房为俞振飞旧居。公寓南立面挑出阳台，北立面中间圆形凸出，底层方形门洞，有水泥雨厦。方形门窗，水泥拉毛墙面，平顶。公寓沿五原路北边布置，平面为一字型， 由两个单元组合而成。每个单元标准层平面为一梯一户，每户为四室户型，居室大多为套间，并巧妙地在房间分隔处设置壁橱。起居室通向阳台，有六扇落地长窗，阳光充足，通风良好。厨房特别大，一间为洗切，另一间为烹烧。佣人房设在洗切间旁，且朝南，虽然面宽狭长，但面积不小，在上海公寓中仅此一例。楼梯间半平台悬挑，底层设汽车库、 锅炉间，两边尽头各设两室户型，现为民居。
俞振飞简介
原籍江苏松江（今属上海市），生于苏州，名远威，号箴非，京剧、昆曲表演艺术家。6岁跟随父亲、昆曲名家俞粟庐习曲，14岁起向昆曲前辈沈锡卿、沈月泉学习。后在上海师从蒋砚香学习京剧小生。29岁经程砚秋介绍，拜京剧小生前辈程继光为师，成为专业演员。先后参加程砚秋、梅兰芳的剧团，长期与梅兰芳、程砚秋、周信芳、马连良、张君秋等合作演出。1923年秋与程砚秋合演昆曲《游园惊梦》，一炮打响，从此声名远扬。30年代，任上海暨南大学文学院讲师。1957年起，任上海市戏曲学校校长。历任中国文联副主席、中国剧协上海分会副 主席、上海京剧院院长、上海昆剧团团长等职。代表剧目有：昆曲《太白醉写》《牡丹亭》《长生殿》等，京剧《群英会》《状元谱》等。著有 《振飞曲谱》《念白要领》等。
俞振飞
君 子 之 交 淡 如 水
1945年8月，日本投降。俞振飞前去看望老朋友梅兰芳，蓄须罢演多年的梅兰芳已将胡须剃净，意欲重返舞台，无奈嗓子不听使唤，吊嗓唱不上去，表演京剧心有余而力不足。俞振飞见梅兰芳愁容满面，安慰他说：“你蓄须明志，大家都很钦佩，八年不唱戏，一时唱不上去，决不能说'完了’。”第二天，俞振飞带上笛子来到梅家，鼓励梅兰芳“唱昆曲试试”。在俞振飞的伴奏下，梅兰芳唱《游园惊梦》后重拾信心。俞振飞考虑到梅兰芳没有唱昆曲的班底和场面，便主动请缨，热心地帮老朋友四处张罗联系。
俞振飞（右）与梅兰芳合拍昆剧电影《游园惊梦》剧照
11月28日，在俞振飞尽心尽力的奔走筹措下，梅兰芳在上海美琪大戏院挂牌演出《游园惊梦》《断桥》《奇双会》等6出京昆剧目。当时人们奔走相告梅兰芳复出的喜讯，欲重睹梅兰芳风采者人山人海 , 几乎挤破了售票处的门窗。原定演10场，应热情的观众之请，又加演3场。演出结束，收入相当可观，梅兰芳要多分钱给俞振飞，俞振飞却连连摇手，无论如何也不肯接受，微笑着说帮助朋友焉能收钱。梅兰芳过意不去，买了衣料等礼品送至俞振飞府宅，俞振飞笑言心领了这份好意，却仍坚持“君子之交淡如水”，亦推辞不受。梅兰芳当着梅剧团成员的面力邀俞振飞加入梅剧团，盛情难却，俞振飞欣然应允。但他表示自己在梅剧团的“包银”（薪酬）决不能高于同为头路小生的姜妙香，虽然姜妙香声名远不及他。
俞振飞自幼接受儒家传统道德教育，重情重义，淡泊名利，养成超凡脱俗的“书卷气”，秉承高尚的艺德，心无旁骛地钻研表演艺术。
俞振飞 （陆小弟、陆旻画）
Introduction of former residence of YU Zhenfei
The former residence of YU Zhenfei is located in Yafa Apartment at No. 258 on Wuyuan Road. Built in 1933, t was designed by FAN Wenzhao, a famous architect. With a construction area of 2,128 square meters, it covers an area of 441 square meters. Enjoying a mixed structure of four floors (now five ones), it has a rectangular plane. The building is an apartment of modern style. One suite on the third floor at the east of the apartment was the residence for YU Zhenfei. At the south facade of the apartment balconies are projected and in the middle there are circular projections. The bottom floor has square doors with cement canopy. The building has square doors and windows, stuccoed walls and a flat roof. The apartment is arranged along the north side of Wuyuan Road and its plane is of a linear shape. It is composed of two units and each unit has one household at one floor with four rooms for each household. Most flats are of the type of suite and wardrobes are cleverly set at the separation between rooms. The living room leads to balcony, which enjoys a French window of six frames to allow in sufficient sunshine and fine ventilation. The kitchen is particularly large with one room for cleansing and cutting and the other for cooking. Maid rooms are located beside the one for cleansing and cutting and face south. Although these rooms are narrow, they are not small in area, which is the only one exception among the apartments in Shanghai. The staircase has semi-platform cantilevers and the ground floor has garages and boiler rooms. At both ends of each aparment are two-room suites. Now it is a residential house.
YU Zhenfei (1902—1993) has his ancestral family from Songjiang (now in Shanghai) in Jiangsu province. Born in Suzhou, he had the former name Yuanwei with a style name of Zhenfei (literally“admonition against wrongs”) and was known as a performing artist of Beijing opera and Kunqu opera. At the age of 6, he followed Yu Sulu, his father and a famous opera artist, to learn opera. At the age of 14, he learned from SHEN Xiqing and SHEN Yuequan, two predecessors of Kunqu opera. Later he learned to perform the young man’s role of Beijing opera from JIANG Yanxiang in Shanghai. At the age of 29, he was introduced by CHENG Yanqiu to take as his teacher CHENG Jiguang, predecessor of Beijing opera, and became a professional actor. In succession he joined in the CHENG Yanqiu Troupe and MEI Lanfang Troupe. He cooperated in performance on a long-term basis with such well-known artists as MEI Lanfang, CHENG Yanqiu, ZHOU Xinfang, MA Lianliang and ZHANG Junqiu. In the autumn of 1923, he cooperated with CHENG Yanqiu in the performance of the Kunqu opera Sweet Dream in the Garden, and won an immediate success. He enjoyed a widespread reputation ever since. In the 1930s, he served as a lecturer in the College of Literature of Jinan University in Shanghai. Since 1957, he served as president of Shanghai Opera School. Successively he served as vice chairman of China Federation of Literary and Art Circles, vice chairman of Shanghai Branch of Chinese Dramatists Association, dean of Shanghai Beijing Opera Theater and head of Shanghai Kunqu Opera Troupe. The repertoire of his representative operas includes Kunqu operas such as Taibai Writing in Drunkenness, Peony Pavilion and The Palace of Eternal Youth, in addition to Beijing Operas including The Meeting of Heroes and List of Number One Scholar. He is the author of Music by Zhenfei and Essentials for Spoken Parts in Opera.
In August 1945, the Japanese surrendered. YU Zhenfei went to visit his old friend MEI Lanfang. The latter, who had kept beards to stop performance for over eight years, had his beards shaved clean with the intention to return to the stage. But his helpless throat did not work. When he exercised his voice, he could not go up high in singing. He was willing but unable to perform Beijing opera any more. When the former saw that MEI looked worried, he consoled him, saying, “When you wore beards to make known your aspiration, admiration was expressed among your friends. Without performance for eight years, it is natural that you can not sing for a moment. But it does not mean complete failure.” The next day, YU came to his home with a flute, encouraging him to have a try in Kunqu opera.
In his accompaniment, MEI tried to sing Sweet Dream in the Garden and regained confidence afterwards. Taking it into account that MEI did not have troupe members and spectacles for the performance of the Kunqu opera, YU volunteered to get in touch with people around to help his old friend.
On November 28, with his active efforts and money-raising to his utmost, MEI had his bulletin board of performance put up in Shanghai Meggie Theatre to perform six Kunqu operas such as Sweet Dream in the Garden, Broken Bridge, Meeting of Two Legends and the others. At that time, people ran around to tell about the good news of Mei’s comeback on the stage, and those who wanted to see with their own eyes his elegant demeanour amounted to mountains and seas and the crowd almost broke the doors and windows of the ticket office. The original schedule was that the performance would be done for ten times. But at the enthusiastic request of the audience three extra shows were added. At the end of the performance the income was quite considerable. Therefore, MEI proposed to pay more money to YU, who shook his head again and again and refused to accept it in any case. He smiled and explained that how he could collect money when he intended to help his friend. MEI was thankful and bought gifts including cloth and other things and had them sent to YU’s home. YU smiled as a token of appreciation of the good intentions, but he still adhered to the conception of “A hedge between keeps friendship green”, and refused the gifts again. In the face of the members of the MEI Lanfang Troupe, MEI invited YU to join the troupe. Hard to turn down the warmhearted offer, YU gladly assented. But he said that his “package silver” (pay) in the troupe must not be higher than that of JIANG Miaoxiang, also a first-class young man’s role, wlose fame was far lower than YU nonetheless.
YU Zhenfei accepted traditional moral education of Confucianism since childhood, valuing emotion and righteousness and being indifferent to fame and wealth. So he cultivated the extraordinary “bookishness”, upheld the noble artistry and concentrated on delving into performing arts. A photo of YU Zhenfei（right）and MEI Lanfangin the film Sweet Dream in the Garden.
信息来源：《200031——一个历史街区的文化记忆》