2010年5月20日 星期四
【台灣國際詩人】李魁賢專訪-用台語,創作歷史長詩《二二八安魂曲》 文/邱斐顯
2010年5月17日 星期一
Bilingual Taiwanese and English Opera "Mackay-The Black Bearded Bible Man"
Bilingual Taiwanese and English Opera
“Mackay-The Black Bearded Bible Man”-World Premiere
《福爾摩沙信簡-黑鬚馬偕》台/英雙語大型歌劇世界首演
Editor/Felicity Fei-Hsien Chiu(邱斐顯) Date: 2008 November 27th ~30th
The first bilingual Taiwanese and English Opera, “Mackay-The Black Bearded Bible Man,” will world premiere at the National Theater on November 27 and will run until November 30.
Taiwanese composer Gordon S.W. Chin had a dream in 1998 to work on an opera based on the legendary life of George Leslie Mackay. His dream did not come true at that time because of a shortage of money. However, in 2003, Chin was commissioned by the Council for Cultural Affairs to compose “Mackay-The Black Bearded Bible Man. ” By 2004, all the music for the opera was written and in 2007 it was billed as a “flagship production” of the CKS Cultural Center.
At the beginning of 2008, the cast and crew of “Mackay-The Black Bearded Bible Man” was chosen. Over a hundred brilliant opera singers and production crew members from Europe, Asia, and the USA were brought into the grand project.
Its premiere will mark a new milestone in the musical history of Taiwan and put the country on the global stage.
A note about George Leslie Mackay
George Leslie Mackay, a Canadian missionary, was known to the Taiwanese people as “Reverend Kay” or the “Black Bearded Bible Man”. He vowed to be a missionary to people who never heard of Jesus Christ. His destiny was intertwined with that of Taiwan ’s since he first arrived in Tamsui, northern Formosa in 1872, which remained his home until his death in 1901.
Starting with an itinerant dentistry practice amongst the lowland aborigines, Mackay later established churches, schools – including Taiwan ’s first girls school -- and a hospital that practiced Western biomedicine. He learned to speak the vernacular Taiwanese fluently, and married a Taiwanese woman Chang Tsung-Ming. Today, Mackay’s influence on the island is still as profound and as it is noticeable.
A note about Gordon S.W. Chin(金希文), composer
Gordon Shi-Wen Chin is a member of the faculty of Taiwan National Normal University. He earned his doctoral degree at the Eastman School of Music under Christopher Rouse and Samuel Adler. As Taiwan ’s most prolific composer, his works have been performed by the Seattle Symphony, San Diego Symphony, and Vancouver Symphony, as well as well as by ensembles in Tokyo (Euodia Orchestra), France (Ensemble 2e2m), the U.S (International Sejong Soloists) and many others.
A note about the international team
International brilliance has been brought together for this unprecedented event. German director Lukas Hemleb was invited from France , where he made his fame in the field. The principal guest conductor Chien Wen-Ping(簡文彬)is leading the National Symphony Orchestra, Taiwan.
Thomas Meglioranza, who has been hailed as “one of America ’s finest young baritones”, will sing the title role, “Mackay”.
An “immaculate and inventive recitalist” (The New Yorker), Meglioranza is in demand throughout the world for his vivid performances. He recently released an acclaimed CD of songs by Franz Schubert. He is also known for his illuminating performances of contemporary music, inspiring many composers to write for his voice.
Mackay’s first disciple “A-Hua” is performed by Korean tenor Seung-Jin Choi(崔勝震), who has impressed the opera world across Europe with the amazing power and beauty of his voice.
Winner of Competition San Remo, International Competition Giuseppe Verdi, Competition Ranieri I Cestelli, International Music Competition and Competition Ranieri I Cestelli, Choi has been in great demand on the international stage.
Soprano Chen Mei-Ling(陳美玲), the most noted Taiwanese opera singer, plays Chang Tsung-Ming(張聰明), Mackay’s Taiwanese wife.
Chen was the first-prize winner of the Taiwan National Voice Competition in 1996, and one of the winners of the Arising Stars Vocal Competition in 2000 in Taiwan . She has sung with major orchestras in Taiwan , including National Symphony Orchestra, National Taiwan Symphony Orchestra, and Kaoshiung City Orchestra.
With this ensemble of opera talent from Europe, Asia and the U.S. , audiences can look forward to a captivating interpretation of Chin’s written work and a showcasing of Taiwan ’s deeply grounded musical brilliance.
Photo courtesy of CKS Cultural Center
The above information was edited by Felicity Fei-Hsien Chiu(邱斐顯), former editor of the Center for Web and Wireless News Service, Central News Agency.
2010年5月1日 星期六
Taiwan Musical “April Rain” 2010 Performance Tour (「四月望雨」音樂劇)
Taiwan Musical “April Rain” 2010 Performance Tour
(「四月望雨」音樂劇)
Date: 2010 May 7th~ May 9th
Time: May 7th (Friday) 19:30 p.m.
May 8th (Saturday) 14:30 p.m.
May 8th (Saturday) 19:30 p.m.
May 9th (Saturday) 14:30 p.m.
May 9th (Saturday) 19:30 p.m.
Venue: National Theater (CKS Cultural Center in Taipei )
Editior/Felicity Fei-Hsien Chiu(邱斐顯)
Revised by Peggy Carr
A note about Taiwan musical “April Rain”
The musical “April Rain” is the first Taiwanese musical to recall a long-gone and almost forgotten period in the history of Taiwan, an era of blood, dreams, hopes, sweat and tears that comes alive through the compositions of the great Taiwanese composer Deng Yu-Shian(鄧雨賢).
This musical was named April Rain(四月望雨)based on the combination of the first Chinese character of four pieces of Deng’s famous works -- “Love Song of Four Seasons”(四季紅), “Sorrow in a Moonlit Night”(月夜愁), “Longing for the Spring Breeze”(望春風), and “Flowers in a Rainy Night”(雨夜花).
Blending Deng Yu-Shian’s own musical legacy with new pieces composed especially for this musical, “April Rain” tries to create a mesmerizing mixture of old and new styles.
“April Rain” was designed to be performed in four languages, namely Holo, Hakka, Japanese and Chinese. It premiered in June 2007 and will be staged a third time from June to August 2008. According to Yang Chung-Heng(楊忠衡), artistic supervisor of All Music Theater, it was the first Taiwanese Musical in Taiwan and in history. He said he hoped that “April Rain” would herald a new era for musicals and theater performances in Taiwan.
A note on Deng Yu-Shian (鄧雨賢)
The great Taiwanese composer Deng Yu-Shian, the “Father of Contemporary Taiwanese Music”, wrote his famous folk melodies several decades ago, but much of his music is still very popular today.
From more detailed information, please check the following link. http://www.wretch.cc/blog/phesha0822/13638627
On November 29, 2002, in a memorable concert in Taipei , Placido Domingo, a world-renowned operatic tenor, sang "Flowers in the Rainy Night” in Taiwanese with the well-known Taiwanese female singer Chiang Hui. This particular work has acquired the status of a musical centerpiece at international cultural events in Taiwan .
A note on Yang Chung-Heng(楊忠衡), playwright and artistic supervisor
Yang Chung-Heng, born in 1963, is currently the editor-in-chief of Allmusic Publishing Company and art director of Allmusic Theatre. Yang has held a number of positions in several organizations, listed in chronological order: vice editor-in-chief at “Audio Art”, “Music Shopper” and “Art China” magazine; journalist at “China Times”, founder and editor-in-chief of “All Music” magazine, musical director of “All Music Records;” and executive director of “Poco-a-Poco Music Education Foundation”.
Yang is a prolific writer. He has written and translated several books and his music critiques and columns appear frequently in numerous journals. He is also a record producer, and won the National Golden Melody Award in 1999 for Best Producer of a Classical Music Recording.
Yang is often invited to serve as a judge in many competitions and appraisal meetings. He started his stage career in 2003 as a playwright and an artistic director of Chinese musicals. His musical works include “Butterfly Loves” (2003), “Song of Love—Story of Madam Chiang Kai-Shek” (2006), “April Rain” (2007), “Immortal Homeland” (2008).
The members of “April Rain” are as follows:
Chiang Yi-Jui(江翊睿)who graduated from the School of Medicine at Taipei Medical University, and despite his parents’ objections, immersed himself in artistic performances after he graduated. He plays “Deng Yu-Shian” in this musical.
Hung Jui-Hsiang(洪瑞襄)is an experienced actress who is equally at home in Hakka musicals and Taiwanese Operas. She plays the female singer Chun-Chun.
Cheng Po-Jen(程伯仁), a graduate of the Department of Dance, National Taiwan University of Arts, plays Deng Yu-Shian’s good friend Chen Chun-Yu.
Chang Shih-Pei(張世珮), who graduated from the Department of Chinese Music, Chinese Culture University as a vocal music major, is a piano teacher in real life. She plays Deng’s wife in the musical.
Chen Ho-Chia(陳何家), a music lover, successful entrepreneur and president of Shin Shin Natural Gas Company, plays the Japanese柏野正次郎 who was in charge of Columbia Music Entertainment, Incorporated.
Shih Ying-Ying(史茵茵)earned a B.A. from the Department of Foreign Languages and Literature at National Taiwan University and an M.A. from Harvard University . This is her first role in “April Rain.” She plays a female singer Ai-Ai, a good friend of Chun-Chun’s.
For more information about Taiwan Musical “April Rain”, please check the official Web site http://aprilrain.allmusic-mag.net/
Photo courtesy of Deng Tai-Chao, Yang Chung-Heng and All Music Theater
台灣藝術家英文簡傳(2)-作曲家鄧雨賢
Composer Deng Yu-Shian
編輯/邱斐顯
Editior/Felicity Fei-Hsien Chiu
Deng was born into a scholarly Hakka family in Longtan Township, Taoyuan County in 1906. When he was three years old, he moved to Taipei with his family because his father was appointed as a Chinese teacher at the Japanese School of the governor’s office. He had to get used to speaking the Holo language, under the circumstances.
At Taipei Normal School, where his father had taught, Deng became fascinated with music and composition. There was a piano in every classroom, as the students in this school were all trained to be teachers with music teaching abilities.
After his graduation in 1925, Deng began teaching at the Ze Hsin Primary School. As soon as got his pay, he would rush to buy books on music theory. In 1929, he decided to quit his teaching job and to pursue studies at the Tokyo School of Music for one year. He later worked as a translator for the Taichung District Court, but quitted the job after a few months.
From 1932 onward, he devoted his efforts to writing popular music, and for about 13 years, his songs were often big hits on the radio. In 1932, his composition “The Dadaocheng March”(大稻埕進行曲)gained good reviews and he was subsequently invited to serve as a professional composer and to train the singers for Columbia Music Entertainment, Incorporated. From 1933 to 1934, Deng composed songs that included “Longing for the Spring Breeze”, “Sorrow in a Moonlit Night”, “Golden Age of Dance” and “Flowers in a Rainy Night.”
His melodies reflected the life and the thoughts of the Taiwan people under Japanese colonial rule. He not only composed new melodies but also collected traditional folk songs in his spare time. However, he was unhappy when the Japanese colonial government asked him to restructure his melodies during the Second World War as motivational war songs. He therefore quitted his job and chose to be a teacher, as his wife was, in Cyonglin Township in Hsinchu County. In 1944, he fell ill and died at the age of 39.
Deng’s influence on Taiwanese music is everlasting. The first Deng Yu-Shian Memorial Concert was held by Taoyuan Philharmonic Orchestra in the Auditorium of Longtan Township Hall on February 15, 1992. The Deng Yu-Shian Composition Concert was first staged at the National Concert Hall on July 14 and 15 that same year.
On November 29, 2002, in a memorable concert in Taipei, Placido Domingo, a world-renowned operatic tenor, sang "Flowers in the Rainy Night” in Taiwanese with the well-known Taiwanese female singer Chiang Hui. This particular work has acquired the status of a musical centerpiece at international cultural events in Taiwan.
江蓋世著《我走過的台灣路》第五章迴盪 5-2 月琴走唱(中)
江蓋世著《我走過的台灣路》第五章迴盪 5-2 月琴走唱(中)
回到家裡,我愈想愈不對勁,我那龐大的「命運之旅」計畫,還沒踏出一步,我怎能被月琴的兩根弦絆倒,就趴地不起呢?而且,後天就要去龍山寺了,我能就此打退堂鼓嗎?不行,新聞稿已經發佈出去了,龍山寺的「命運走唱」我要如期進行,我一定要學會!我一定要去走唱募款!我一定要完成「命運之旅」!當天傍晚,我就去我二姊家,請她教我一些基本的樂理,然後,她用鋼琴伴奏彈「思想起」,我把它錄了下來。嗯,信心又來了,只要我把「思想起」的主旋律,不厭其煩的反覆的聽,聽熟了,後天一上場,嘴巴隨我哼,手指隨我彈,只要有個模樣,不至太荒腔走板,反正我是業餘的,群眾應不會太苛求我吧,於是,這樣自我安慰一番,心情就好多了。
八月十一日 晚上七點,我們在台北市龍山寺廣場,舉行第一場「命運走唱」。我們進行的方式,晚上七點到九點,在廣場上靜坐、演講、走唱,然後九點開始遊行一個小時。我本來想,沒多少人會來參加,沒想到,一到龍山寺,嚇了一跳!幾百名民眾,已經擠在大門等待我們到來。哇,太好了,人這麼多,於是我們趕快把四張大布條,上面寫著幾個大標語,如「命運走唱-台灣人走台灣路」、「人民有主張台灣獨立的自由」等,圍成一個正方形,中間騰出一個空間,然後,再擺上四個大型紙箱,充當募款箱。
這時,民眾立即踴了上來,紛紛圍坐布條前,或坐著觀看,或站著議論。一位龍山寺老人會的 羅 先生,特地為我準備了一盞油燈,我把油燈點燃,放在我面前,然後把月琴放在地上,接著穿好了甘地精神綠背心,頭綁上了綠絲帶,好了,一切準備就緒,大家等著聽我「命運走唱」囉。
正當民眾豎起了耳朵,拉長了脖子,準備聽聽我的月琴走唱,我們用菜籃車拼湊而成的音響,就響起了「周成過台灣」的彈唱!
「咦,怎麼江蓋世沒彈月琴呢?」有人低聲的問。
原來是這樣子的,前一晚,我再怎麼練,還是彈不出來。我太自信了,原以為兩個指頭亂彈一通,也會自成旋律,可是,我左手的手指頭壓著弦,壓了一個晚上,主旋律還是跑不出來,只有斷斷續續的「鐙、鐙、鐙」的聲音,最後,只好對月琴宣告投降。那晚一上場,只好厚著臉皮,拿出預先準備好的一卷「周成過台灣」錄音帶,由它為我代打了!
雖然我無法彈唱,我的朋友們,如蕭貫譽、蔡文旭等人,還是賣力的輪番助陣演講。有一位黨工朋友,他家住板橋,他每天都用一個大背包,裝滿了報紙,到處兜售報紙,我們演講到一半時,他說,他也要上場說幾句話,他一拿起麥克風,就呼籲大家要支持我們「命運走唱」的募款活動,他講到最後非常激動時,他向大家呼籲道:
「江蓋世伊們欲去行全島,沒錢,沒人,今仔暗,我帶頭先捐款,我將今仔日賣報紙的錢,全部捐出來,希望逐家嘛鬥相工!……」
他說著說著,就把他的大布袋,拿到群眾的面前,然後,往募款箱一倒,嘩啦啦,數百個銅板,就丟進箱子裡面去,這時,群眾抱以熱烈的掌聲。
看到這一幕,我好感動,在那個時代,我的朋友,都是基層黨工朋友,我也沒有辦法接觸到一些企業家,更別說去募集大筆捐款,因此,他的錢,雖然很少,但統統倒在箱子裡,卻是他一日所得!我們幾個年輕人,夢想著率領著一支龐大的進香團,巡迴全島一個月,並且舉行七場盛大的台灣民謠晚會,算算基本的開銷,至少要好幾百萬,而我只評估,只要一百萬,我們用最節省的方式,還是可以辦得成。我夢想,這幾天的募款,能夠買到一輛中古的宣傳車,還供給一小支工作人員,巡迴全島的住宿、飲食費用,再印個幾萬張傳單,然後,租借場地、音響設備等等。
八月十一日 ,我們結束了第一天的「命運走唱」,最後,我們現場清點募款箱,把箱子倒出來,裡面一大堆一元、五元、十元的銅板,還有揉得發皺的百元舊鈔,偶爾才翻得到一張千元大鈔,總計是一萬六千零五十七元。雖然,離我們百萬元的目標,還有一段距離,但是,這些基層熱心民眾,肯掏出他口袋裡的錢,已讓我非常感激了。
第二天,第三天,我們繼續在龍山寺進行「命運走唱」。因為前一晚,我只是擺了一支月琴,卻彈不出來,龍山寺老人會有些熱心的老人,看出我的窘境,他們便私下出錢,在 八月十二日 那天晚上,專程從桃園請來了一團南北管,來為我助唱。一位老先生,看起來年紀大約八十幾,他跟一位老婦人,在南北管的伴奏之下,現場表演起「陳三五娘」,兩人頭髮發白,臉上皺紋滿佈,身軀瘦弱,但表演起「陳三五娘」,卻身手靈活,唱作俱佳,看得大家哈哈大笑,拍手叫好。看到別人熱情相助,我也不管自己的歌喉多麼難聽,就跟蔡文旭說:「等一咧,我嘛欲來唱一條歌仔戲調。」
蔡文旭聽了,眼睛睜大,嘴角抿著詭異的笑容,好像心裡在說:「啊--你,你的聲音?--也敢上啊,這……」
我可管不了那麼多,抓起了麥克風,就開始哼唱起來,歌詞是我自己編的:
「 八月十二日--龍山寺
鄉親--父老--攏到陣
命運走唱--為啥米
台灣人啊--行台灣路」
八月十二日 晚上,我們募到七千二百一十五元,不到昨天的一半, 八月十三日 晚上,我們募到了八千二百九十元,所以三天的「命運走唱」,我們總計募到了三萬一千五百六十二元。得到基層群眾這樣的熱心捐款,我們感到非常的欣慰,但距離原訂的目標,一百萬元的預算,卻差距太大了。三萬元,印一波傳單就沒了,怎麼買中古車?怎麼租音響?那有經費去組團?……。
連著三天的「命運走唱」,演講、唱歌、募款、遊行、與警察對峙、遭到警察下令解散……每天搞到十一、二點,原本體力強健的蔡文旭,感到後勁乏力了,我也疲憊不堪。不過,有一件事,讓我稍有安慰,而精神為之一振。
八月十三日 晚上,簡錫堦跑來龍山寺找我,交給我一包禮物,我打開一看,是一件長袖 T 恤,上面印有美國黑人民權領袖 金恩 博士的肖像, 以及他講過的一句名言「I Have A Dream. 」。簡錫堦是當時反對運動圈內非常有名的漫畫家,也是一位勞工運動專家,他去美國一趟,回程的時候,朋友託他帶這件 T 恤給我,他說道:「你的同學陳寬倫託我,帶這件 T 恤給你,並向你致意。」
哦,原來是我延平初中的同學陳寬倫,跟我延平同屆,建中同校,而後清大畢業,再赴美留學, 將近十年沒連絡了,他居然在我疲憊不堪的時候,託人把金恩的 T 恤,拿到龍山寺廣場交給我, 這給我無比的鼓舞,那件 T 恤,也許只有美金一、二十元,可是,我握到手的那一剎那,卻覺得它比黃金鑽石還珍貴,因為,金恩所說的「我有一個夢想」,給我莫大的精神支持。
三天下來,我們不得不承認,用這種「命運走唱」的方法,很難募到大筆的款項,我們還是需要尋求別人的支助,可是,我已決定,我絕對不放棄,再窮,我們也可以四處走唱,第二波的「命運之旅」,我們一定要完成。我那時,在日記本上,寫下了一首短詩,那首詩,寫出我當時心境:
「我怕黑暗,
他們不准點燈,
我只好當蠟燭……。
我怕寂寞,
他們不准說話,
我只好去走唱……。」
(未完待續)
江蓋世著《我走過的台灣路》第五章 迴盪 5-2 月琴走唱(上)
江蓋世著《我走過的台灣路》第五章迴盪 5-2 月琴走唱(上)
一九八七年環島的「贖罪之旅」,走了一半,我已經確定,縱使全程走完,政府當局也不會把我送入牢裡。那麼,接下來,我該怎麼辦呢?
我不想坐困愁城,我要繼續走下去,因此,「贖罪之旅」一站一站走下去,我的腦中,已經在計畫下一波的運動。我反覆的跟蔡文旭、兵介仕、楊木萬等人討論,最後我們決定,經過我們第一波「贖罪之旅」,原本乾旱的土壤,現在稍微鬆動濕軟,我們應該加把勁,把台獨思想自由運動,再往前推一步。
討論中,我提議要把訴求提昇為「台灣人民走台灣路」,明講的,就是「台灣獨立」,可是,再三的討論,我們檢討,在我們所走過的各縣市,有的民進黨人士,連「台灣獨立思想自由」的基本的要求,他們都不敢聲援,何況是「台灣獨立」呢!況且我們沒有成立具體的組織,很難去動員群眾。因此,修正再三,我們最後定案,決定了我們下一波運動的名稱--「命運之旅」。我們認為,台灣的命運,由我們台灣的人民自己來決定,為了喚醒台灣人民自決的權利意識,我們決定推出第二波環島的「命運之旅」。
這一次,我們想匯集更多的民力,可是,我們依然沒錢、沒人,那怎麼做到呢?我們還是要靠民進黨在各地的服務處或黨部,那邊有基本的黨工,再者,各地的廟宇,如關帝廟、城隍廟、媽祖廟等廟寺,都是當地傳統的政治、文化、宗教、社會的中心,所以我們打出一個名號,要組織一個「全島進香團」,為了台灣的命運,要到全國各大廟宇進香。
台灣人民燒香拜佛,常常是祈求神明保祐自己,或保祐自己的家人,或保祐自己的親戚朋友,可是,我一直有一個想法,只管自己好,不管他人死翹翹,更不管社會發展,也不理國家前途,只是一個自私的信仰。所以,我們擺明的,這個全島進香團,進香的目的,就是為了台灣的命運,只有當人民可以自由的討論台灣的前途問題,我們才能決定自己的命運。好,就這麼辦吧!
八月四日 晚上六點半,我跟兵介仕與蔡文旭,在羅斯福路的一家馡林西餐廳,經過數小時的磋商,我們擬訂了「命運之旅」全島進香團的計畫,我們決定由 九月四日 至 九月二十七日 ,全島巡迴一周,舉行遊行、進香的活動,並安排七場大型的台灣民謠演唱會,並且,在最後一天,進行最高潮的「命運拜訪」,我們將為了台灣的命運,再度拜訪蔣經國,向他重申「台灣人民有主張台灣獨立的自由」。
我們三個臭皮匠,窩在一個小餐廳,擬出一項龐大政治運動的企劃案,非常有成就感。但是,接下來呢?錢呢?人呢?
我曾經看過電視的報導,雲林北港的進香團,數萬進香客,湧進北港媽祖廟,那是何等龐大的社會動員力量!而我們呢?那個北港的進香團,匯集了大大小小的宗教團體、社會團體、政治團體,才能展現出這樣龐大壯觀的進香場面,而我們呢?幾個小黨工,其中,我還官司纏身……,想到了錢,我就苦惱,因為當時的我,連一部交通工具都沒有,更別提要帶領一支龐大的進香團,為台灣命運進香!
有位朋友借我一卷陳達的月琴演唱帶,他那一曲自彈自唱的「思想起」,讓我聽得非常著迷,這位來自屏東的老歌手,是台灣國寶級的藝人,他那沙啞的彈唱,常叫我不自覺的跌回童年的時光,是啊,就在大廟口,大樹下,一位老歌手,哼出親切動人的台灣歌……。
有了!沒經費,我就抱著一把月琴,到廟口去走唱,目標一百萬,錢的問題不就解決了嗎?人家常說我,倡導甘地的非暴力,甘地是外國人,非暴力是外國貨,不是台灣本土的,因此無法深入民間,那麼,如果我抱著一把月琴,四處為台灣命運來走唱,月琴是台灣樂器的象徵,我把非暴力與月琴結合,這樣不是更能打動人心嗎?
想到這裡,我心中又亮了起來,沒錢沒人的煩惱,通通往後拋。 八月五日 ,我想當月琴歌手想得發瘋,就央求我的二姊,陪我去羅斯福路一家「宜展樂器行」,因為二姊她稍為懂得一點鋼琴,而我是完全外行,連五線譜的豆芽菜,看也看不懂。我們東挑西挑,就買了一把,新臺幣八百五十元,嗯,太棒了,月琴啊,月琴!「命運之旅」的百萬經費,就靠你囉!
好了,我現在有了一把月琴。但問題來了,我根本不會彈啊,更不用說邊彈邊唱!不會,我可以學啊。我就專程跑到台北市補習班街的一家錄音帶行,買了二卷「周成過台灣」的台灣勸世歌,那是台灣民俗藝人的彈唱錄音帶,我買了下來,回家迫不及待的放來聽一聽,哈,太棒了,手指頭在月琴的兩根弦上輪轉,真的好像是大珠小珠落玉盤,彈唱者哼哼唉唉,訴說古老的台灣故事,讓我聽來,愈聽愈有信心,只要我肯學,我也可以彈唱,雖然達不到那樣的登峰造極,也可唬唬一些外行人。於是,我就跟買月琴的那家樂器行報名,請了一位月琴老師來教我。
說來,我可真大膽,我們擬訂第二波環島運動「命運之旅」時,就預定 八月十一日 到 八月十三日 ,連著三天,要在台北市香火鼎盛的龍山寺廣場,舉行「命運走唱」募款會,希望能募集「命運之旅」的初期經費。我現在月琴是有了,募款會的時間也定了,可是我們定的太匆促了,我月琴還沒學會,就要打鴨子上架,萬一當場出糗,那該怎麼辦呢?這時,蔡文旭卻跟我打趣道:
「無要緊,你只要坐佇土腳,手抱著一支月琴,邊仔放著一支破雨傘,頭戴一頂破笠仔,邊仔擱點一支油燈,然後擱擺一個破碗公,哈,親像一個走唱的乞食,一定募有錢的!會曉彈,毋曉彈,那有啥米要緊咧?哈,哈!……」
話說得不錯,可是,我 八月五日 買了月琴, 八月十一日 馬上就要登台演出,我總不能抱著月琴,對著圍觀的群眾一直傻笑吧?於是,我決定在最短的時間內,拜師學藝。
八月九日星期天 ,上午十一點,我就去宜展樂器行上第一堂月琴課。教我的老師是 陳士美 小姐,她是文化大學音樂系的學生。我跟她說,我不懂任何樂器,也看不懂樂譜,只想學會彈唱一首陳達的「思想起」。她並不知道我的來歷,我也不敢跟她表明,我今天上了第一堂課,後天就要登台獻藝。
陳 老師也沒多問,就非常耐心的教我最基本的彈法,然後,再彈一彈「思想起」的主旋律,我上課上了一個小時,不斷暗地叫苦,以前,看人家在台上,抱著一把吉他,又彈又唱,快樂、青春、活力!這應該很簡單吧,可是,我用我左手的指頭去壓月琴的那兩根弦,然後右手拇指跟食指拿著一個塑膠「匹克」,彈出「多--蕾--咪--」,慢慢彈,我還可以找到那個音,速度加快,我就完了,左手指頭壓來壓去,右手彈指,使力忽強忽弱。 那位陳 老師,叫我慢慢彈,可是我從小上音樂課,最討厭的就是看樂譜,看了樂譜,相看兩相厭,現在我二十九歲了,早過了學音樂的年齡,硬梆梆的指頭,不若 陳 老師的手那麼纖細靈巧,她稍為彈指撥弄,優美樂音如潺潺流水,煞是動聽。
好不容易,一小時的課結束了,我已彈得額頭冒汗,汗衫全溼,要不是愛面子,早就跟 陳 老師說,對不起,我實在不是學音樂的料子,我不要學了。
我若現在不學,那下個月要推動的環島「命運之旅」,經費來源該怎麼辦呢?想到這裡,我還是把剛才的念頭,吞了下去,然後堆著笑臉,問老師:「 謝謝 老師,下一次我們什麼時候上課?」下了課,我就抱著那把月琴,從那樂器行的音樂教室落荒而逃。
(未完待續)