1、漢調二簧(湖北省),編號:Ⅳ-31
(1)批次/類型:2008年(第二批),擴展項目
(2)申報地區或單位:湖北省竹(zhu)溪(xi)縣(xian)
(3)保(bao)護單(dan)位(wei):竹(zhu)溪縣山二(er)黃劇種保(bao)護傳承展演中心
2、漢調二簧(陜西省),編號:Ⅳ-31
(1)批次/類型:2006年(nian)(第(di)一批),新(xin)增項目
(2)申報(bao)地區或單位:陜(shan)西省(sheng)安康(kang)市
(3)保護單位(wei):安(an)康市群眾藝術館
漢(han)(han)調(diao)(diao)(diao)二(er)簧(huang)(huang)系板(ban)腔(qiang)(qiang)(qiang)體,以二(er)簧(huang)(huang)、西(xi)(xi)(xi)(xi)皮(pi)為主要聲腔(qiang)(qiang)(qiang),屬“皮(pi)簧(huang)(huang)腔(qiang)(qiang)(qiang)系”劇種。二(er)簧(huang)(huang)、西(xi)(xi)(xi)(xi)皮(pi)為兩(liang)種不同(tong)的(de)腔(qiang)(qiang)(qiang)調(diao)(diao)(diao)。其(qi)腔(qiang)(qiang)(qiang)調(diao)(diao)(diao)考原至(zhi)今亦為諸說(shuo)(shuo)并存。一(yi)般認(ren)為,西(xi)(xi)(xi)(xi)皮(pi)調(diao)(diao)(diao)源于(yu)(yu)陜、甘(gan)一(yi)帶、即(ji)(ji)“西(xi)(xi)(xi)(xi)皮(pi)本(ben)甘(gan)肅腔(qiang)(qiang)(qiang)、所用以托腔(qiang)(qiang)(qiang)者為胡琴、為月(yue)琴、故(gu)日琴腔(qiang)(qiang)(qiang)、西(xi)(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”“明末已流(liu)行內地(di)’’之說(shuo)(shuo)。二(er)簧(huang)(huang)調(diao)(diao)(diao)之源,一(yi)說(shuo)(shuo)陜西(xi)(xi)(xi)(xi)土生土長(chang),屬秦(qin)(qin)(qin)聲古調(diao)(diao)(diao)之一(yi)種,在漢(han)(han)水(shui)(shui)(shui)流(liu)域(yu)(yu)發(fa)展成長(chang),是為“漢(han)(han)調(diao)(diao)(diao)”、“漢(han)(han)二(er)簧(huang)(huang)”、“西(xi)(xi)(xi)(xi)曲(qu)二(er)簧(huang)(huang)”;一(yi)說(shuo)(shuo)漢(han)(han)劉邦(bang)屯兵漢(han)(han)中(zhong)(zhong)時,將漢(han)(han)水(shui)(shui)(shui)中(zhong)(zhong)上(shang)游(you)民歌作(zuo)軍謠,后帶入關中(zhong)(zhong)制(zhi)于(yu)(yu)樂(le)府,集(ji)秦(qin)(qin)(qin)楚(chu)樂(le)工傳(chuan)(chuan)唱(chang),因別于(yu)(yu)楚(chu)、秦(qin)(qin)(qin)樂(le)及(ji)西(xi)(xi)(xi)(xi)域(yu)(yu)龜茲樂(le)而稱漢(han)(han)調(diao)(diao)(diao)、秦(qin)(qin)(qin)聲;一(yi)說(shuo)(shuo)源自(zi)唐代簧(huang)(huang)幡綽所創“簧(huang)(huang)冠體”而得(de)名二(er)簧(huang)(huang),即(ji)(ji)“梨園法曲(qu)說(shuo)(shuo)”;一(yi)說(shuo)(shuo)由“徽(hui)調(diao)(diao)(diao)”、“四平調(diao)(diao)(diao)”衍變;一(yi)說(shuo)(shuo)“起于(yu)(yu)江右”,系“弋陽腔(qiang)(qiang)(qiang)”派生,或(huo)“西(xi)(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”傳(chuan)(chuan)入江西(xi)(xi)(xi)(xi),改竹笛(di)、嗩吶(na)為胡琴伴奏變成二(er)簧(huang)(huang)等。西(xi)(xi)(xi)(xi)皮(pi)、二(er)簧(huang)(huang)西(xi)(xi)(xi)(xi)調(diao)(diao)(diao)合流(liu)演變的(de)眾說(shuo)(shuo)中(zhong)(zhong),多認(ren)為明末清初,在漢(han)(han)水(shui)(shui)(shui)流(liu)域(yu)(yu)合成,先自(zi)漢(han)(han)水(shui)(shui)(shui)中(zhong)(zhong)上(shang)游(you)順(shun)流(liu)東下荊、襄(xiang)、武漢(han)(han)得(de)以發(fa)展,又(you)溯水(shui)(shui)(shui)洄流(liu)漢(han)(han)水(shui)(shui)(shui)中(zhong)(zhong)上(shang)游(you)一(yi)帶。
漢調二(er)簧在發展中(zhong)(zhong)曾形(xing)成安康、漢中(zhong)(zhong)、商雒、關中(zhong)(zhong)等(deng)流派,名角層(ceng)出不窮。其腳色共分末、凈(jing)、生(sheng)、旦、丑(chou)、外、小、貼(tie)、老、雜十個行當,表演講究(jiu)細膩精到,唱(chang)(chang)腔真假嗓并用(yong),悠揚婉轉。生(sheng)、老旦一般用(yong)真聲演唱(chang)(chang),旦用(yong)假聲演唱(chang)(chang),凈(jing)則使用(yong)虎音(yin)(yin)。其唱(chang)(chang)腔以西皮、二(er)簧為主(zhu),西皮用(yong)于(yu)表現愉快、爽(shuang)朗(lang)的(de)情(qing)緒和場面,二(er)簧用(yong)于(yu)表現悲哀、肅穆的(de)情(qing)緒和場面,演唱(chang)(chang)中(zhong)(zhong)根(gen)據劇情(qing)需(xu)要(yao)交(jiao)替使用(yong),形(xing)成甜(tian)音(yin)(yin)、苦音(yin)(yin)之分。
漢調(diao)(diao)(diao)(diao)二(er)(er)(er)(er)(er)簧(huang)(huang)唱(chang)腔(qiang)(qiang)(qiang)分(fen)二(er)(er)(er)(er)(er)簧(huang)(huang)調(diao)(diao)(diao)(diao)和西(xi)(xi)皮(pi)調(diao)(diao)(diao)(diao)兩(liang)(liang)種,俗稱二(er)(er)(er)(er)(er)簧(huang)(huang)為“上把(ba)(ba)”,曲(qu)(qu)調(diao)(diao)(diao)(diao)唱(chang)法(fa)上講究板(ban)(ban)(ban)(ban)起板(ban)(ban)(ban)(ban)落(luo),用(yong)(yong)“頂牙子(zi)”開(kai)口。板(ban)(ban)(ban)(ban)式有(you)(you)(you)(you)【導(dao)板(ban)(ban)(ban)(ban)】、【慢三(san)(san)眼】等(deng)十二(er)(er)(er)(er)(er)種。西(xi)(xi)皮(pi)調(diao)(diao)(diao)(diao)稱“下把(ba)(ba)”,唱(chang)法(fa)上眼起板(ban)(ban)(ban)(ban)落(luo),用(yong)(yong)“過牙子(zi)”開(kai)口。板(ban)(ban)(ban)(ban)式有(you)(you)(you)(you)【導(dao)板(ban)(ban)(ban)(ban)】、【一(yi)字(zi)】等(deng)十種。二(er)(er)(er)(er)(er)簧(huang)(huang)的(de)(de)反(fan)(fan)調(diao)(diao)(diao)(diao)稱反(fan)(fan)二(er)(er)(er)(er)(er)簧(huang)(huang)(陽(yang)板(ban)(ban)(ban)(ban)),西(xi)(xi)皮(pi)反(fan)(fan)調(diao)(diao)(diao)(diao)稱反(fan)(fan)西(xi)(xi)皮(pi)。另(ling)外,還有(you)(you)(you)(you)高(gao)(gao)撥子(zi)、四平調(diao)(diao)(diao)(diao)、徽調(diao)(diao)(diao)(diao)、昆(kun)(kun)腔(qiang)(qiang)(qiang)、板(ban)(ban)(ban)(ban)兒腔(qiang)(qiang)(qiang)、吹腔(qiang)(qiang)(qiang)、高(gao)(gao)腔(qiang)(qiang)(qiang)、看(kan)山腔(qiang)(qiang)(qiang)等(deng)雜腔(qiang)(qiang)(qiang)雜調(diao)(diao)(diao)(diao)。如(ru)《牧虎關(guan)》高(gao)(gao)旺,《三(san)(san)搜府》施公皆(jie)用(yong)(yong)徽調(diao)(diao)(diao)(diao)演(yan)唱(chang);《大賜福》、《過二(er)(er)(er)(er)(er)關(guan)》等(deng)全(quan)用(yong)(yong)昆(kun)(kun)曲(qu)(qu)演(yan)唱(chang);《下河東》用(yong)(yong)吹腔(qiang)(qiang)(qiang)(嗩吶調(diao)(diao)(diao)(diao))演(yan)唱(chang);《釘缸》用(yong)(yong)七句半演(yan)唱(chang);《小放牛》用(yong)(yong)小調(diao)(diao)(diao)(diao)演(yan)唱(chang)等(deng)。把(ba)(ba)西(xi)(xi)皮(pi)【一(yi)字(zi)】和【二(er)(er)(er)(er)(er)六】唱(chang)調(diao)(diao)(diao)(diao)的(de)(de)過門重(zhong)復一(yi)遍叫做“雙環環”,是洛鎮二(er)(er)(er)(er)(er)簧(huang)(huang)的(de)(de)一(yi)大特色(se)。整(zheng)個(ge)曲(qu)(qu)調(diao)(diao)(diao)(diao)委(wei)婉不足,質樸有(you)(you)(you)(you)余,故有(you)(you)(you)(you)“硬腔(qiang)(qiang)(qiang)”之說。二(er)(er)(er)(er)(er)簧(huang)(huang)戲中,有(you)(you)(you)(you)二(er)(er)(er)(er)(er)簧(huang)(huang)或(huo)西(xi)(xi)皮(pi)一(yi)調(diao)(diao)(diao)(diao)到底的(de)(de),也(ye)有(you)(you)(you)(you)兩(liang)(liang)種曲(qu)(qu)調(diao)(diao)(diao)(diao)交(jiao)替(ti)使用(yong)(yong)的(de)(de)。有(you)(you)(you)(you)的(de)(de)上句唱(chang)二(er)(er)(er)(er)(er)簧(huang)(huang),下句接(jie)西(xi)(xi)皮(pi);或(huo)前(qian)半句唱(chang)二(er)(er)(er)(er)(er)簧(huang)(huang),后半句唱(chang)西(xi)(xi)皮(pi)。如(ru)《二(er)(er)(er)(er)(er)進宮》“跪(gui)臣”一(yi)節(jie),徐彥(yan)昭(zhao)前(qian)半句用(yong)(yong)二(er)(er)(er)(er)(er)簧(huang)(huang)【原板(ban)(ban)(ban)(ban)】唱(chang)“嚇壞了定國王”,楊博(bo)接(jie)“兵部侍郎”,就變成了西(xi)(xi)皮(pi)【流水板(ban)(ban)(ban)(ban)】。這種變調(diao)(diao)(diao)(diao)改板(ban)(ban)(ban)(ban)的(de)(de)“倒把(ba)(ba)”方式,是漢調(diao)(diao)(diao)(diao)二(er)(er)(er)(er)(er)簧(huang)(huang)聲腔(qiang)(qiang)(qiang)的(de)(de)特點之一(yi)。
伴奏樂隊的(de)文場使用胡(hu)琴(qin)、二胡(hu)、月琴(qin)、三弦、阮、嗩吶(na)、笛子(zi)、喇(la)叭等(deng)(deng)樂器,武場則使用牙板、梆子(zi)、暴鼓(gu)(gu)、尖鼓(gu)(gu)、鑼(luo)、鐃鈸等(deng)(deng)。漢調(diao)二簧的(de)臉譜樣式眾(zhong)多(duo),比京(jing)劇和秦腔更為(wei)考究,收集(ji)到(dao)的(de)有四百五十多(duo)個。
唱(chang)腔(qiang)音樂(le)中有(you)西皮(pi)類九種板(ban)式,如(ru)【導板(ban)】【慢(man)一(yi)字(zi)(zi)】【一(yi)字(zi)(zi)】【二流】【三流】【浪(lang)里鉆】【撩子(zi)】【滾白(bai)】【灑(sa)頭(tou)】;二簧類板(ban)式有(you)【導板(ban)】【回龍】【慢(man)一(yi)字(zi)(zi)】【一(yi)字(zi)(zi)】【扣扣板(ban)】【平板(ban)】【浪(lang)里鉆】【撩子(zi)】八種。各種板(ban)式的起板(ban)、轉板(ban)、落(luo)板(ban)都有(you)一(yi)定規律;唱(chang)腔(qiang)也兼用(yong)一(yi)些昆曲,吹(chui)腔(qiang)和民間小調。
漢調二簧傳(chuan)統劇(ju)目(mu)豐(feng)富,僅安康一地就有(you)一千二百多(duo)(duo)種,已挖(wa)掘整理出本戲420個,折子戲517個。這(zhe)些(xie)劇(ju)目(mu)的題材(cai)多(duo)(duo)取自(zi)《東周(zhou)列國志》《三國演(yan)義(yi)》《封神(shen)演(yan)義(yi)》及(ji)其他歷史故事和民間傳(chuan)說,其中(zhong)的代表性劇(ju)目(mu)有(you)《文姬辨琴(qin)》《胡笳(jia)十八拍》《戰蚩尤(you)》《嘗百草》《簧天(tian)蕩》《清風亭》《二度梅》《打龍(long)棚》《梁紅(hong)玉》等。
嘉慶(qing)(qing)至(zhi)道光(guang)年(nian)間(jian)(1796—1850),楊金年(nian)在(zai)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)西(xi)(xi)鄉開(kai)(kai)辦(ban)科(ke)班(ban)的(de)出(chu)(chu)科(ke)藝術人(ren)(ren)(ren)(ren)(ren),分赴漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各(ge)地(di)搭(da)班(ban)或(huo)自(zi)行(xing)組(zu)(zu)班(ban)演出(chu)(chu),并開(kai)(kai)科(ke)授徒(tu)。使漢(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)在(zai)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各(ge)地(di)扎下了(le)根子(zi),出(chu)(chu)現(xian)(xian)了(le)職業戲(xi)(xi)班(ban)仁(ren)豐班(ban)、漢(han)(han)(han)榮班(ban),于(yu)(yu)道光(guang)二(er)(er)(er)十年(nian)前后(hou)(hou)(hou)(hou),還去湖北、安康等(deng)地(di)演出(chu)(chu)。楊金年(nian)、查來松及張(zhang)(zhang)清壽(人(ren)(ren)(ren)(ren)(ren)稱“活靈(ling)(ling)官”),又接(jie)辦(ban)了(le)永(yong)、青(qing)(qing)長三科(ke),培訓出(chu)(chu)的(de)藝人(ren)(ren)(ren)(ren)(ren),又分別(bie)組(zu)(zu)建起長勝(sheng)、青(qing)(qing)云、永(yong)太(tai)(tai)等(deng)班(ban),并跟(gen)班(ban)又代培出(chu)(chu)太(tai)(tai)、周、萬字輩(bei)藝人(ren)(ren)(ren)(ren)(ren),壯大(da)了(le)二(er)(er)(er)簧(huang)(huang)力(li)量(liang),形(xing)成(cheng)了(le)上(shang)河調(diao)(漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)為(wei)(wei)漢(han)(han)(han)水(shui)上(shang)流,當地(di)欲稱上(shang)河)二(er)(er)(er)簧(huang)(huang)。張(zhang)(zhang)清壽死后(hou)(hou)(hou)(hou)葬于(yu)(yu)鎮巴縣(xian)(xian)城東北角,其第子(zi)于(yu)(yu)墳側修建“靈(ling)(ling)官廟”一(yi)座,廟內存有張(zhang)(zhang)的(de)塑像(xiang),成(cheng)為(wei)(wei)后(hou)(hou)(hou)(hou)世漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)藝人(ren)(ren)(ren)(ren)(ren)祭祖之地(di)。光(guang)緒年(nian)間(jian)(1875—1908)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)、南鄭等(deng)地(di),又先后(hou)(hou)(hou)(hou)辦(ban)起了(le)大(da)同(tong)社(she)(she)(she)、福慶(qing)(qing)班(ban)、雙慶(qing)(qing)班(ban)等(deng)漢(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)班(ban)社(she)(she)(she)。光(guang)緒三十三年(nian)(1907)楊偉堂、蘇巒玉、趙某(mou)(山陽縣(xian)(xian)人(ren)(ren)(ren)(ren)(ren))、賀保(bao)保(bao)(安康人(ren)(ren)(ren)(ren)(ren)),合(he)伙于(yu)(yu)南鄭縣(xian)(xian)秦家(jia)壩(ba)大(da)安寺開(kai)(kai)辦(ban)了(le)天(tian)泰(tai)科(ke)班(ban),共(gong)收學徒(tu)七十余(yu)人(ren)(ren)(ren)(ren)(ren),為(wei)(wei)當時(shi)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)最(zui)大(da)的(de)科(ke)班(ban)。三年(nian)后(hou)(hou)(hou)(hou),西(xi)(xi)鄉縣(xian)(xian)的(de)九榮兩科(ke)班(ban)四(si)十余(yu)人(ren)(ren)(ren)(ren)(ren)被(bei)接(jie)納(na)入天(tian)泰(tai)科(ke)班(ban),人(ren)(ren)(ren)(ren)(ren)員多達百余(yu)人(ren)(ren)(ren)(ren)(ren)以上(shang),曾開(kai)(kai)往四(si)川(chuan)演出(chu)(chu)。宣統二(er)(er)(er)年(nian)(1910)于(yu)(yu)成(cheng)都首(shou)場演出(chu)(chu)《滿(man)床笏》,轟動一(yi)時(shi)。至(zhi)辛亥革命后(hou)(hou)(hou)(hou),李(li)偉堂才率(lv)班(ban)返回漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)。不久,戲(xi)(xi)箱交(jiao)由鄭天(tian)滿(man)領(ling)管,改天(tian)泰(tai)科(ke)班(ban)為(wei)(wei)興(xing)漢(han)(han)(han)社(she)(she)(she),成(cheng)為(wei)(wei)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)二(er)(er)(er)簧(huang)(huang)的(de)主力(li)。以后(hou)(hou)(hou)(hou)三十年(nian)間(jian),馬天(tian)慶(qing)(qing)(領(ling)班(ban))與王(wang)吉元(yuan)、王(wang)來壽等(deng),跟(gen)班(ban)帶徒(tu)培訓出(chu)(chu)福、耀、玉、勝(sheng)等(deng)輩(bei)學員,流布漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各(ge)縣(xian)(xian),并組(zu)(zu)班(ban)演出(chu)(chu),遂出(chu)(chu)現(xian)(xian)了(le)寧強縣(xian)(xian)的(de)賀斌班(ban)、胡家(jia)壩(ba)的(de)趙開(kai)(kai)志(zhi)班(ban)、留壩(ba)縣(xian)(xian)的(de)唐(tang)安榮班(ban)、德燕(yan)班(ban)等(deng)幾十個戲(xi)(xi)班(ban),使漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)派二(er)(er)(er)簧(huang)(huang)開(kai)(kai)始出(chu)(chu)現(xian)(xian)了(le)盛(sheng)期(qi)。抗日戰(zhan)爭后(hou)(hou)(hou)(hou)期(qi),職業班(ban)社(she)(she)(she)僅留有蒲正華(hua)所(suo)領(ling)的(de)興(xing)漢(han)(han)(han)社(she)(she)(she),二(er)(er)(er)簧(huang)(huang)戲(xi)(xi)頓呈衰弱(ruo)景況。中(zhong)(zhong)(zhong)(zhong)華(hua)人(ren)(ren)(ren)(ren)(ren)民共(gong)和(he)國成(cheng)立后(hou)(hou)(hou)(hou),由興(xing)漢(han)(han)(han)社(she)(she)(she)和(he)幾個業余(yu)班(ban)人(ren)(ren)(ren)(ren)(ren)員組(zu)(zu)成(cheng)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)平民劇社(she)(she)(she),后(hou)(hou)(hou)(hou)改為(wei)(wei)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)漢(han)(han)(han)劇團。1967年(nian)解散,1979年(nian)重新(xin)恢復。1981年(nian)與漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)文工(gong)團合(he)并,取名漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)實驗劇團。漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)漢(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)語音接(jie)近四(si)川(chuan),唱腔具有音調(diao)清新(xin)、柔婉的(de)特點。主要盛(sheng)行(xing)于(yu)(yu)漢(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)、南鄭、西(xi)(xi)鄉、城固、鎮巴、勉縣(xian)(xian)等(deng)地(di)。
自乾(qian)隆(1736—1795),蒿坪河二(er)(er)(er)(er)(er)簧(huang)(huang)乾(qian)勝班(ban)(ban)(ban)、泰(tai)豐(feng)班(ban)(ban)(ban)出現后(hou),至道光年(nian)(nian)(nian)間(jian)(1821—1850),又有(you)(you)(you)漢(han)(han)(han)(han)榮(rong)(rong)班(ban)(ban)(ban)(漢(han)(han)(han)(han)中(zhong)派)、仁豐(feng)班(ban)(ban)(ban)、宜太(tai)(tai)班(ban)(ban)(ban)相繼演(yan)(yan)出。咸豐(feng)十年(nian)(nian)(nian)(1860)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)籍(ji)藝(yi)(yi)(yi)人(ren)范(fan)仁寶(bao)(渾名(ming)范(fan)驢子)從湖北房縣大(da)(da)覺寺率(lv)領瑞(rui)(rui)仁班(ban)(ban)(ban)回(hui)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang),于(yu)(yu)城內三義廟搭臺售票(piao)演(yan)(yan)出,又在(zai)金(jin)堂寺、萬壽(shou)寺開(kai)科(ke)(ke)授(shou)徒,培養出瑞(rui)(rui)、彩、方(fang)、盛(sheng)四(si)(si)科(ke)(ke)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)(yi)人(ren)。該班(ban)(ban)(ban)陣容整(zheng)齊(qi),行(xing)(xing)當(dang)齊(qi)全(quan),其唱腔雜有(you)(you)(you)湖北民間(jian)曲調,人(ren)稱下(xia)(xia)河調,具(ju)有(you)(you)(you)唱腔清新悅耳(er),表演(yan)(yan)細膩神(shen)(shen)奇的(de)(de)風格,習者眾(zhong)多,使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調二(er)(er)(er)(er)(er)簧(huang)(huang)得到了(le)(le)長(chang)足(zu)(zu)新悅耳(er),表演(yan)(yan)細膩神(shen)(shen)奇的(de)(de)風格,習者眾(zhong)多,使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調二(er)(er)(er)(er)(er)簧(huang)(huang)得到了(le)(le)長(chang)足(zu)(zu)發展。同(tong)(tong)治年(nian)(nian)(nian)間(jian)(1862—1874)出科(ke)(ke)的(de)(de)方(fang)、盛(sheng)兩科(ke)(ke)藝(yi)(yi)(yi)術(shu)人(ren),先后(hou)入(ru)(ru)關(guan)中(zhong)、四(si)(si)川演(yan)(yan)出;瑞(rui)(rui)、彩科(ke)(ke)藝(yi)(yi)(yi)人(ren)長(chang)期駐(zhu)足(zu)(zu)于(yu)(yu)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)地區,使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調二(er)(er)(er)(er)(er)簧(huang)(huang)在(zai)唱腔、表演(yan)(yan)等方(fang)面發生了(le)(le)較大(da)(da)變化。清末民案(an)初(chu),安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)各(ge)地班(ban)(ban)(ban)社日益增多,最有(you)(you)(you)影響的(de)(de)為(wei)(wei)(wei)十三太(tai)(tai)字(zi)班(ban)(ban)(ban)。即(ji)金(jin)太(tai)(tai)班(ban)(ban)(ban)、福太(tai)(tai)班(ban)(ban)(ban)、鼎太(tai)(tai)班(ban)(ban)(ban)、廣太(tai)(tai)班(ban)(ban)(ban)、隆太(tai)(tai)班(ban)(ban)(ban)、貴(gui)太(tai)(tai)班(ban)(ban)(ban)、仁太(tai)(tai)班(ban)(ban)(ban)、榮(rong)(rong)太(tai)(tai)班(ban)(ban)(ban)、盛(sheng)太(tai)(tai)班(ban)(ban)(ban)、喜(xi)(xi)太(tai)(tai)班(ban)(ban)(ban)、治太(tai)(tai)班(ban)(ban)(ban)、裕太(tai)(tai)班(ban)(ban)(ban)和(he)德(de)太(tai)(tai)班(ban)(ban)(ban)。后(hou)因連年(nian)(nian)(nian)災荒,兵匪橫行(xing)(xing),班(ban)(ban)(ban)社紛紛解(jie)體。民國(guo)八(ba)年(nian)(nian)(nian)(1919)年(nian)(nian)(nian)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)(yi)人(ren)凌成(cheng)佑,在(zai)城防駐(zhu)軍北洋第七(qi)師的(de)(de)支持下(xia)(xia),成(cheng)立了(le)(le)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)同(tong)(tong)心社,以安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)城為(wei)(wei)(wei)大(da)(da)本營,于(yu)(yu)陜(shan)南(nan)(nan)漢(han)(han)(han)(han)水流域各(ge)縣廟會(hui)、商會(hui)、鄉鎮售票(piao)演(yan)(yan)出,二(er)(er)(er)(er)(er)簧(huang)(huang)再一(yi)次起興。出現的(de)(de)藝(yi)(yi)(yi)人(ren)有(you)(you)(you)青衣泰(tai)斗陳(chen)長(chang)庚,凈角(jiao)陳(chen)天(tian)靜(jing)、知長(chang)福,花(hua)旦閻(yan)保林,丑(chou)角(jiao)范(fan)大(da)(da)德(de)、梁(liang)金(jin)玉(yu),生角(jiao)徐茂才、黃大(da)(da)架,小(xiao)(xiao)生孫玉(yu)寶(bao)、李玉(yu)喜(xi)(xi)及(ji)(ji)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)(er)(er)簧(huang)(huang)第一(yi)代女藝(yi)(yi)(yi)人(ren)鐘玉(yu)鳳(feng)、郭玉(yu)蓮等。抗(kang)日戰爭爆發后(hou),京、滬各(ge)地藝(yi)(yi)(yi)人(ren)逃至陜(shan)南(nan)(nan),京劇(ju)(ju)(ju)(ju)、越劇(ju)(ju)(ju)(ju)、曲劇(ju)(ju)(ju)(ju)、話劇(ju)(ju)(ju)(ju)及(ji)(ji)秦(qin)腔傳(chuan)入(ru)(ru)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang),安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)(er)(er)簧(huang)(huang)又走(zou)向了(le)(le)低谷(gu)。凌成(cheng)佑不甘現狀(zhuang),在(zai)同(tong)(tong)心社開(kai)辦科(ke)(ke)班(ban)(ban)(ban),培養了(le)(le)一(yi)批二(er)(er)(er)(er)(er)簧(huang)(huang)藝(yi)(yi)(yi)人(ren),使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)(er)(er)簧(huang)(huang)再度出現了(le)(le)回(hui)升之勢。中(zhong)華人(ren)民共和(he)國(guo)成(cheng)立后(hou),安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)地方(fang)政府將同(tong)(tong)心社與西(xi)關(guan)自樂社合并(bing)成(cheng)立安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)人(ren)民劇(ju)(ju)(ju)(ju)院,先后(hou)排演(yan)(yan)了(le)(le)《小(xiao)(xiao)二(er)(er)(er)(er)(er)黑結婚》、《窮人(ren)恨》、《九件衣》、《北京四(si)(si)十天(tian)》等劇(ju)(ju)(ju)(ju)目,受到觀眾(zhong)歡(huan)迎。1956年(nian)(nian)(nian)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)人(ren)民劇(ju)(ju)(ju)(ju)院改為(wei)(wei)(wei)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)縣漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)團。專(zhuan)區各(ge)縣也先后(hou)成(cheng)立起縣屬專(zhuan)業漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)團,從業人(ren)員達三百余人(ren)。1959年(nian)(nian)(nian)陜(shan)西(xi)省(sheng)(sheng)戲(xi)(xi)曲學(xue)校設(she)立漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)班(ban)(ban)(ban),為(wei)(wei)(wei)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)培養學(xue)員七(qi)十五(wu)名(ming),充實了(le)(le)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)新生力量。1981年(nian)(nian)(nian)陜(shan)西(xi)省(sheng)(sheng)文(wen)化局于(yu)(yu)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)舉行(xing)(xing)了(le)(le)首(shou)屆漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)會(hui)演(yan)(yan),名(ming)流薈萃(cui),各(ge)呈(cheng)異彩,把二(er)(er)(er)(er)(er)簧(huang)(huang)戲(xi)(xi)推到一(yi)個(ge)新的(de)(de)階段。安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調二(er)(er)(er)(er)(er)簧(huang)(huang)擅演(yan)(yan)文(wen)戲(xi)(xi),唱腔秀麗、委婉(wan),主要流行(xing)(xing)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)、旬陽、紫陽、平利、白河、漢(han)(han)(han)(han)陰、石泉等地。
流行于(yu)(yu)西安(an)(an)(an)(an)、三原(yuan)(yuan)、涇(jing)(jing)陽(yang)、鳳翔、長(chang)安(an)(an)(an)(an)、藍田、周至(zhi)、戶(hu)縣、咸(xian)陽(yang)、耀縣等(deng)(deng)地(di)。注重唱工,劇本(ben)水(shui)詞少,正、悲劇多,曲牌(pai)、打擊(ji)樂多帶(dai)秦腔(qiang)風味。最得(de)文人(ren)、商(shang)紳、旗、滿、回民和(he)(he)軍政要(yao)人(ren)的(de)喜(xi)好。嘉(jia)慶末年(nian)(nian),漢中(zhong)來字輩(bei)出(chu)(chu)科學生(sheng)賀鴻(hong)生(sheng),領班(ban)(ban)(ban)往(wang)關(guan)(guan)中(zhong)寶雞(ji)、虢鎮(zhen)、周至(zhi)、戶(hu)縣、涇(jing)(jing)陽(yang)、三原(yuan)(yuan)、富平(ping)及西安(an)(an)(an)(an)南關(guan)(guan)等(deng)(deng)地(di)演(yan)(yan)出(chu)(chu)。受其影響,涇(jing)(jing)陽(yang)、長(chang)安(an)(an)(an)(an)、周至(zhi)等(deng)(deng)地(di),亦先后(hou)組織(zhi)起(qi)二(er)(er)(er)(er)簧班(ban)(ban)(ban)社(she)(she)。光緒(xu)年(nian)(nian)間(1875—1908),出(chu)(chu)現(xian)了(le)三原(yuan)(yuan)的(de)清(qing)義(yi)(yi)班(ban)(ban)(ban),涇(jing)(jing)陽(yang)吳(wu)寡婦(fu)班(ban)(ban)(ban),并開(kai)始有(you)坤(kun)伶清(qing)唱或掛衣登臺。吳(wu)寡婦(fu)班(ban)(ban)(ban)搜羅藝(yi)人(ren),延聘文人(ren)修改劇本(ben),聲譽日增。慈(ci)禧太后(hou)逃至(zhi)西安(an)(an)(an)(an)后(hou),該班(ban)(ban)(ban)曾應詔承奉獻(xian)演(yan)(yan),得(de)到慈(ci)禧贈匾嘉(jia)獎。辛亥革命(ming)后(hou),陜(shan)西督(du)都張(zhang)翔初,革命(ming)軍師長(chang)張(zhang)云山(shan),支持(chi)在西安(an)(an)(an)(an)創辦了(le)二(er)(er)(er)(er)簧鳴(ming)(ming)盛學社(she)(she),先后(hou)培養(yang)學員(yuan)二(er)(er)(er)(er)百余人(ren),成為關(guan)(guan)中(zhong)地(di)區(qu)二(er)(er)(er)(er)簧的(de)最大科班(ban)(ban)(ban)。教師有(you)趙安(an)(an)(an)(an)子、吳(wu)李乾等(deng)(deng)。出(chu)(chu)科的(de)演(yan)(yan)員(yuan)有(you)山(shan)鳴(ming)(ming)歧(qi)、劉鳴(ming)(ming)祥、張(zhang)鳴(ming)(ming)峰、雷鳴(ming)(ming)震等(deng)(deng),成為關(guan)(guan)中(zhong)二(er)(er)(er)(er)簧的(de)中(zhong)堅力(li)量(liang),曾受聘于(yu)(yu)四川、甘肅(su)、河南等(deng)(deng)地(di)傳藝(yi)和(he)(he)演(yan)(yan)出(chu)(chu)。關(guan)(guan)中(zhong)二(er)(er)(er)(er)簧演(yan)(yan)出(chu)(chu)的(de)主要(yao)劇目有(you)《火輪牌(pai)》、《汜水(shui)關(guan)(guan)》、《破桃山(shan)》、《出(chu)(chu)五關(guan)(guan)》、《過巴州》、《鎖陽(yang)城(cheng)》、《四平(ping)山(shan)》等(deng)(deng)。1925年(nian)(nian)駐軍賈興(xing)運組織(zhi)的(de)二(er)(er)(er)(er)簧班(ban)(ban)(ban),演(yan)(yan)出(chu)(chu)一(yi)(yi)時而解體。1931年(nian)(nian),藝(yi)人(ren)王安(an)(an)(an)(an)奎(kui)創辦志(zhi)(zhi)義(yi)(yi)科班(ban)(ban)(ban),培養(yang)出(chu)(chu)演(yan)(yan)員(yuan)劉志(zhi)(zhi)俊、劉志(zhi)(zhi)勝、馮志(zhi)(zhi)才、邵志(zhi)(zhi)福、董志(zhi)(zhi)杰等(deng)(deng),同時還出(chu)(chu)現(xian)有(you)慶義(yi)(yi)社(she)(she)和(he)(he)中(zhong)興(xing)社(she)(she),因(yin)難以立足西安(an)(an)(an)(an)而多巡回于(yu)(yu)外縣演(yan)(yan)出(chu)(chu)。1949年(nian)(nian)初,原(yuan)(yuan)“鳴(ming)(ming)盛學社(she)(she)”、“慶義(yi)(yi)社(she)(she)”等(deng)(deng)漢調二(er)(er)(er)(er)簧班(ban)(ban)(ban)社(she)(she)合并為“大眾劇社(she)(she)”,活動三年(nian)(nian)散班(ban)(ban)(ban)。自此,關(guan)(guan)中(zhong)地(di)區(qu)再無專(zhuan)業二(er)(er)(er)(er)簧劇團,僅西安(an)(an)(an)(an)、藍田、戶(hu)縣尚(shang)有(you)二(er)(er)(er)(er)簧研究會,經常(chang)組織(zhi)一(yi)(yi)些業余演(yan)(yan)唱活動。
盛行于鎮(zhen)(zhen)安、山(shan)(shan)(shan)(shan)陽、商(shang)(shang)(shang)(shang)縣(xian)(xian)、洛南(nan)(nan)等(deng)地(di)。向以(yi)武(wu)戲見長(chang),演(yan)《八蠟廟(miao)》、《紅(hong)桃(tao)山(shan)(shan)(shan)(shan)》等(deng)劇(ju)(ju),使用真槍真刀。同治、光緒年(nian)間(jian)(1862—1908),出(chu)(chu)(chu)科于漢中西鄉沙河坎楊金年(nian)科班(ban)(ban)(ban)的(de)(de)(de)名藝(yi)人(ren)賀鴻生(sheng)(sheng),曾從湖北(bei)、關(guan)中往返于商(shang)(shang)(shang)(shang)洛地(di)區傳(chuan)播(bo)二(er)(er)簧,培養出(chu)(chu)(chu)趙安子、吳(wu)寶(bao)卿、演(yan)技(ji)超群,頗受觀眾歡迎。光緒二(er)(er)十(shi)四年(nian)(1898),清(qing)廷還詔趙、吳(wu)進宮(gong)演(yan)唱。姚(yao)政班(ban)(ban)(ban)先后舉辦科班(ban)(ban)(ban),培養出(chu)(chu)(chu)“廣”、“慶(qing)(qing)”兩(liang)科藝(yi)人(ren)五(wu)十(shi)余(yu)(yu)名,壯大了洛鎮(zhen)(zhen)二(er)(er)簧的(de)(de)(de)演(yan)出(chu)(chu)(chu)隊伍(wu)。二(er)(er)十(shi)世紀二(er)(er)、三(san)十(shi)年(nian)代,二(er)(er)簧戲繼(ji)續發展,出(chu)(chu)(chu)現的(de)(de)(de)班(ban)(ban)(ban)社有(you)柞(zuo)水(shui)縣(xian)(xian)北(bei)河代大爺班(ban)(ban)(ban),商(shang)(shang)(shang)(shang)縣(xian)(xian)城內孔海(hai)山(shan)(shan)(shan)(shan)的(de)(de)(de)商(shang)(shang)(shang)(shang)山(shan)(shan)(shan)(shan)升平(ping)社,商(shang)(shang)(shang)(shang)縣(xian)(xian)北(bei)區的(de)(de)(de)屈映南(nan)(nan)班(ban)(ban)(ban),鎮(zhen)(zhen)安縣(xian)(xian)城姚(yao)再(zai)勝(sheng)的(de)(de)(de)五(wu)福(fu)班(ban)(ban)(ban),云蓋寺的(de)(de)(de)安樂社和(he)(he)(he)柞(zuo)水(shui)石(shi)鎮(zhen)(zhen)、商(shang)(shang)(shang)(shang)縣(xian)(xian)黑龍口、韓峪川、楊斜、東鄉等(deng)地(di)的(de)(de)(de)二(er)(er)簧班(ban)(ban)(ban),共十(shi)余(yu)(yu)個。藝(yi)人(ren)有(you)代大爺班(ban)(ban)(ban)的(de)(de)(de)劉五(wu)燕(紅(hong)生(sheng)(sheng)、武(wu)旦)、張(zhang)志(zhi)富(fu)(二(er)(er)凈)、朱(zhu)長(chang)福(fu)(外(wai))、龔金娃(末)等(deng),五(wu)福(fu)班(ban)(ban)(ban)的(de)(de)(de)尹(yin)榮山(shan)(shan)(shan)(shan)(凈)、董興平(ping)(旦)、金雙(shuang)慶(qing)(qing)(生(sheng)(sheng))、雷鳴震(zhen)(生(sheng)(sheng))等(deng),安樂社的(de)(de)(de)羅福(fu)娃、陳(chen)(chen)大炮(pao)、劉子勝(sheng)(生(sheng)(sheng))、張(zhang)長(chang)生(sheng)(sheng)(丑)、高(gao)志(zhi)海(hai)(旦)等(deng),商(shang)(shang)(shang)(shang)縣(xian)(xian)、山(shan)(shan)(shan)(shan)陽、柞(zuo)水(shui)縣(xian)(xian)各班(ban)(ban)(ban)的(de)(de)(de)李(li)保林、王(wang)廣翠、陳(chen)(chen)剛娃、黃亮子、呂慶(qing)(qing)華、張(zhang)慶(qing)(qing)鴻等(deng)。演(yan)出(chu)(chu)(chu)的(de)(de)(de)劇(ju)(ju)目主(zhu)要有(you)《斬黃袍》《天(tian)水(shui)關(guan)》《端午門(men)》《受禪臺》《天(tian)才吃饃》《南(nan)(nan)北(bei)會》《洪羊洞》《白門(men)樓》《清(qing)河橋(qiao)》《大開榜》《元宵謎(mi)》《梵王(wang)宮(gong)》《漁舟配(pei)》《鼓滾劉封》《雙(shuang)投唐》《草(cao)橋(qiao)關(guan)》《月(yue)明樓》《望兒樓》等(deng)。抗日戰爭(zheng)期(qi)(qi)間(jian),洛鎮(zhen)(zhen)漢調(diao)二(er)(er)簧呈(cheng)現蕭條之勢(shi),不少班(ban)(ban)(ban)社解體(ti)。至抗日戰爭(zheng)末期(qi)(qi),只有(you)柞(zuo)水(shui)抗建劇(ju)(ju)團(tuan)(tuan)、鎮(zhen)(zhen)安三(san)勝(sheng)班(ban)(ban)(ban)等(deng)還在(zai)演(yan)出(chu)(chu)(chu)。中華人(ren)民(min)共和(he)(he)(he)國成(cheng)立后,1955年(nian)5月(yue)以(yi)大同社和(he)(he)(he)抗建劇(ju)(ju)團(tuan)(tuan)為(wei)基礎(chu)建立了商(shang)(shang)(shang)(shang)洛新生(sheng)(sheng)劇(ju)(ju)團(tuan)(tuan),1956年(nian)秋,鎮(zhen)(zhen)安縣(xian)(xian)以(yi)三(san)勝(sheng)班(ban)(ban)(ban)為(wei)基礎(chu)組建了群眾劇(ju)(ju)團(tuan)(tuan)。1957年(nian)后又相(xiang)繼(ji)組建成(cheng)立了山(shan)(shan)(shan)(shan)陽縣(xian)(xian)和(he)(he)(he)鎮(zhen)(zhen)安縣(xian)(xian)兩(liang)個縣(xian)(xian)級專業漢劇(ju)(ju)團(tuan)(tuan),經常于本縣(xian)(xian)及(ji)商(shang)(shang)(shang)(shang)縣(xian)(xian)、洛南(nan)(nan)、丹鳳等(deng)地(di)巡回(hui)演(yan)出(chu)(chu)(chu)。并(bing)招收學員,培養出(chu)(chu)(chu)武(wu)新艾等(deng)一批(pi)演(yan)員。
經研究認定,漢(han)調二簧形(xing)(xing)成較(jiao)早,各地其他(ta)皮簧聲腔劇(ju)種都與之存在淵源關系,它對川劇(ju)、徽劇(ju)、京劇(ju)等的(de)形(xing)(xing)成和發展有著不(bu)可忽略的(de)影響。
如今,漢調二簧觀(guan)眾銳減,經濟上(shang)出(chu)現(xian)困難,不斷走向衰落,專業劇(ju)(ju)團紛紛解散,僅剩下安康(kang)漢濱區一(yi)個劇(ju)(ju)團還在(zai)維持演出(chu),而(er)且這個惟一(yi)的劇(ju)(ju)團也正(zheng)瀕臨解散的危機(ji)。在(zai)此情勢下,有(you)必要大(da)聲呼吁,應該盡(jin)快對這一(yi)古老(lao)劇(ju)(ju)種進(jin)行搶救和保(bao)護。
龔(gong)尚(shang)武,男,漢(han)族(zu),1937年生,陜(shan)西漢(han)陰人(ren),第二批國(guo)家級非(fei)物質文化遺產項目漢(han)調二簧代表性傳承人(ren)。
王發(fa)蕓(yun),女,漢族,1941年生,陜西安康(kang)人,國家二級演員,第二批國家級非物質文化遺產項目漢調二簧代表性傳承(cheng)人。
1956年(nian),陜西省(sheng)文化局及(ji)陜西省(sheng)劇(ju)目工作室(shi)在安康設立專區戲曲發掘組,全面組織(zhi)二黃老藝人們口述傳代輩份、班社(she)來(lai)往(wang)和源流(liu)沿革;以及(ji)迄今(jin)對古戲樓遺存至今(jin)的班社(she)壁題留字(zi)。
2019年11月,《國家級非物質(zhi)文化遺產(chan)代表(biao)性項目保(bao)護(hu)單(dan)位名單(dan)》公(gong)布,安康(kang)市群眾藝術(shu)館、竹(zhu)溪縣山二黃劇種保(bao)護(hu)傳承(cheng)展演中心獲得“漢調(diao)二簧”項目保(bao)護(hu)單(dan)位資(zi)格。
重要演出
1981年,陜(shan)西(xi)省文化(hua)廳在安康(kang)舉辦“陜(shan)西(xi)省首(shou)屆(jie)漢劇會演”,陜(shan)南(nan)地(di)區有十(shi)余個專業劇團參加(jia)演出,出現了空前(qian)繁榮的局面。
2015年10月16日晚,為喜迎(ying)“第十一(yi)屆(jie)中國文化(hua)藝術節”倒計時一(yi)周年,由寧陜(shan)縣(xian)文廣局主辦、廣貨街鎮沙(sha)溝漢(han)劇自樂班社承辦的漢(han)調二(er)黃(huang)專場演出在寧陜(shan)縣(xian)電影(ying)院精彩上演。
榮譽表彰
2012年,平利縣選送的漢(han)(han)調二黃(huang)戲《八仙(xian)游八仙(xian)》在首屆漢(han)(han)調二黃(huang)自樂班社擂臺賽中榮獲一等(deng)獎(jiang)。