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漢(han)(han)調(diao)(diao)二(er)簧(huang)(huang)系(xi)板腔(qiang)(qiang)體，以二(er)簧(huang)(huang)、西(xi)(xi)(xi)皮(pi)(pi)為(wei)主(zhu)要聲(sheng)腔(qiang)(qiang)，屬(shu)“皮(pi)(pi)簧(huang)(huang)腔(qiang)(qiang)系(xi)”劇種。二(er)簧(huang)(huang)、西(xi)(xi)(xi)皮(pi)(pi)為(wei)兩種不同的(de)腔(qiang)(qiang)調(diao)(diao)。其腔(qiang)(qiang)調(diao)(diao)考(kao)原至今亦為(wei)諸說并存。一(yi)(yi)般認(ren)為(wei)，西(xi)(xi)(xi)皮(pi)(pi)調(diao)(diao)源(yuan)(yuan)于(yu)陜、甘一(yi)(yi)帶、即“西(xi)(xi)(xi)皮(pi)(pi)本甘肅腔(qiang)(qiang)、所用以托(tuo)腔(qiang)(qiang)者為(wei)胡(hu)琴(qin)、為(wei)月琴(qin)、故(gu)日琴(qin)腔(qiang)(qiang)、西(xi)(xi)(xi)秦(qin)(qin)腔(qiang)(qiang)”“明(ming)末已流(liu)(liu)(liu)行內(nei)地’’之(zhi)說。二(er)簧(huang)(huang)調(diao)(diao)之(zhi)源(yuan)(yuan)，一(yi)(yi)說陜西(xi)(xi)(xi)土(tu)生土(tu)長，屬(shu)秦(qin)(qin)聲(sheng)古調(diao)(diao)之(zhi)一(yi)(yi)種，在漢(han)(han)水流(liu)(liu)(liu)域發展成(cheng)長，是為(wei)“漢(han)(han)調(diao)(diao)”、“漢(han)(han)二(er)簧(huang)(huang)”、“西(xi)(xi)(xi)曲二(er)簧(huang)(huang)”；一(yi)(yi)說漢(han)(han)劉邦屯兵漢(han)(han)中(zhong)(zhong)時，將漢(han)(han)水中(zhong)(zhong)上(shang)(shang)游(you)民(min)歌作軍謠，后帶入(ru)關中(zhong)(zhong)制(zhi)于(yu)樂(le)府，集秦(qin)(qin)楚樂(le)工(gong)傳唱，因別于(yu)楚、秦(qin)(qin)樂(le)及西(xi)(xi)(xi)域龜茲(zi)樂(le)而(er)(er)稱漢(han)(han)調(diao)(diao)、秦(qin)(qin)聲(sheng)；一(yi)(yi)說源(yuan)(yuan)自唐代簧(huang)(huang)幡綽所創“簧(huang)(huang)冠(guan)體”而(er)(er)得(de)名二(er)簧(huang)(huang)，即“梨園法(fa)曲說”；一(yi)(yi)說由(you)“徽(hui)調(diao)(diao)”、“四平調(diao)(diao)”衍變；一(yi)(yi)說“起(qi)于(yu)江右(you)”，系(xi)“弋陽腔(qiang)(qiang)”派生，或“西(xi)(xi)(xi)秦(qin)(qin)腔(qiang)(qiang)”傳入(ru)江西(xi)(xi)(xi)，改竹笛(di)、嗩吶(na)為(wei)胡(hu)琴(qin)伴(ban)奏變成(cheng)二(er)簧(huang)(huang)等。西(xi)(xi)(xi)皮(pi)(pi)、二(er)簧(huang)(huang)西(xi)(xi)(xi)調(diao)(diao)合流(liu)(liu)(liu)演變的(de)眾說中(zhong)(zhong)，多認(ren)為(wei)明(ming)末清初(chu)，在漢(han)(han)水流(liu)(liu)(liu)域合成(cheng)，先(xian)自漢(han)(han)水中(zhong)(zhong)上(shang)(shang)游(you)順流(liu)(liu)(liu)東下(xia)荊、襄、武漢(han)(han)得(de)以發展，又(you)溯水洄流(liu)(liu)(liu)漢(han)(han)水中(zhong)(zhong)上(shang)(shang)游(you)一(yi)(yi)帶。

文化特征

角色行當

漢調二(er)簧(huang)在發展中曾(ceng)形成安(an)康、漢中、商雒、關(guan)中等流派，名角層出不窮。其腳(jiao)色共(gong)分末、凈、生(sheng)、旦(dan)、丑、外、小、貼、老、雜十(shi)個(ge)行當(dang)，表演講究細(xi)膩(ni)精(jing)到，唱(chang)腔真(zhen)假嗓并用(yong)(yong)，悠揚婉轉。生(sheng)、老旦(dan)一般用(yong)(yong)真(zhen)聲(sheng)演唱(chang)，旦(dan)用(yong)(yong)假聲(sheng)演唱(chang)，凈則使(shi)用(yong)(yong)虎(hu)音(yin)。其唱(chang)腔以西(xi)皮、二(er)簧(huang)為(wei)主(zhu)，西(xi)皮用(yong)(yong)于表現(xian)愉快、爽朗的情(qing)緒和(he)場面，二(er)簧(huang)用(yong)(yong)于表現(xian)悲哀、肅穆的情(qing)緒和(he)場面，演唱(chang)中根據劇情(qing)需要交替(ti)使(shi)用(yong)(yong)，形成甜音(yin)、苦(ku)音(yin)之分。

唱腔

漢(han)調(diao)(diao)(diao)(diao)(diao)二(er)簧(huang)(huang)(huang)唱(chang)(chang)腔(qiang)(qiang)分二(er)簧(huang)(huang)(huang)調(diao)(diao)(diao)(diao)(diao)和西(xi)皮(pi)(pi)調(diao)(diao)(diao)(diao)(diao)兩種(zhong)(zhong)，俗稱(cheng)二(er)簧(huang)(huang)(huang)為“上把(ba)(ba)”，曲調(diao)(diao)(diao)(diao)(diao)唱(chang)(chang)法上講究板(ban)起板(ban)落(luo)(luo)，用(yong)“頂(ding)牙子”開口。板(ban)式(shi)有(you)(you)【導板(ban)】、【慢(man)三眼】等十二(er)種(zhong)(zhong)。西(xi)皮(pi)(pi)調(diao)(diao)(diao)(diao)(diao)稱(cheng)“下把(ba)(ba)”，唱(chang)(chang)法上眼起板(ban)落(luo)(luo)，用(yong)“過牙子”開口。板(ban)式(shi)有(you)(you)【導板(ban)】、【一字(zi)】等十種(zhong)(zhong)。二(er)簧(huang)(huang)(huang)的(de)(de)反調(diao)(diao)(diao)(diao)(diao)稱(cheng)反二(er)簧(huang)(huang)(huang)（陽板(ban)），西(xi)皮(pi)(pi)反調(diao)(diao)(diao)(diao)(diao)稱(cheng)反西(xi)皮(pi)(pi)。另外，還有(you)(you)高撥子、四平調(diao)(diao)(diao)(diao)(diao)、徽調(diao)(diao)(diao)(diao)(diao)、昆腔(qiang)(qiang)、板(ban)兒腔(qiang)(qiang)、吹(chui)腔(qiang)(qiang)、高腔(qiang)(qiang)、看山(shan)腔(qiang)(qiang)等雜(za)腔(qiang)(qiang)雜(za)調(diao)(diao)(diao)(diao)(diao)。如《牧虎關(guan)》高旺(wang)，《三搜府(fu)》施(shi)公皆用(yong)徽調(diao)(diao)(diao)(diao)(diao)演唱(chang)(chang)；《大(da)賜福》、《過二(er)關(guan)》等全(quan)用(yong)昆曲演唱(chang)(chang)；《下河東》用(yong)吹(chui)腔(qiang)(qiang)（嗩(suo)吶調(diao)(diao)(diao)(diao)(diao)）演唱(chang)(chang)；《釘缸(gang)》用(yong)七句(ju)(ju)(ju)半演唱(chang)(chang)；《小放牛》用(yong)小調(diao)(diao)(diao)(diao)(diao)演唱(chang)(chang)等。把(ba)(ba)西(xi)皮(pi)(pi)【一字(zi)】和【二(er)六】唱(chang)(chang)調(diao)(diao)(diao)(diao)(diao)的(de)(de)過門重(zhong)復一遍叫(jiao)做“雙環(huan)環(huan)”，是洛(luo)鎮(zhen)二(er)簧(huang)(huang)(huang)的(de)(de)一大(da)特色。整個曲調(diao)(diao)(diao)(diao)(diao)委(wei)婉不(bu)足，質樸有(you)(you)余，故有(you)(you)“硬(ying)腔(qiang)(qiang)”之說。二(er)簧(huang)(huang)(huang)戲中，有(you)(you)二(er)簧(huang)(huang)(huang)或(huo)西(xi)皮(pi)(pi)一調(diao)(diao)(diao)(diao)(diao)到底(di)的(de)(de)，也有(you)(you)兩種(zhong)(zhong)曲調(diao)(diao)(diao)(diao)(diao)交(jiao)替使用(yong)的(de)(de)。有(you)(you)的(de)(de)上句(ju)(ju)(ju)唱(chang)(chang)二(er)簧(huang)(huang)(huang)，下句(ju)(ju)(ju)接西(xi)皮(pi)(pi)；或(huo)前(qian)半句(ju)(ju)(ju)唱(chang)(chang)二(er)簧(huang)(huang)(huang)，后半句(ju)(ju)(ju)唱(chang)(chang)西(xi)皮(pi)(pi)。如《二(er)進宮》“跪臣(chen)”一節(jie)，徐彥(yan)昭前(qian)半句(ju)(ju)(ju)用(yong)二(er)簧(huang)(huang)(huang)【原板(ban)】唱(chang)(chang)“嚇(xia)壞了定國王”，楊博接“兵部侍郎”，就(jiu)變成了西(xi)皮(pi)(pi)【流水板(ban)】。這(zhe)種(zhong)(zhong)變調(diao)(diao)(diao)(diao)(diao)改板(ban)的(de)(de)“倒把(ba)(ba)”方式(shi)，是漢(han)調(diao)(diao)(diao)(diao)(diao)二(er)簧(huang)(huang)(huang)聲(sheng)腔(qiang)(qiang)的(de)(de)特點之一。

伴奏樂器

伴奏(zou)樂隊的文場使用胡琴、二(er)胡、月琴、三(san)弦、阮、嗩吶、笛子(zi)、喇叭(ba)等樂器(qi)，武場則(ze)使用牙(ya)板、梆子(zi)、暴(bao)鼓(gu)、尖鼓(gu)、鑼、鐃鈸等。漢調二(er)簧的臉譜樣式眾多，比京(jing)劇(ju)和(he)秦腔(qiang)更為考究，收集到的有(you)四百五十多個(ge)。

板式

唱腔(qiang)音樂中有西(xi)皮類(lei)九(jiu)種(zhong)板(ban)(ban)式(shi)(shi)，如(ru)【導(dao)板(ban)(ban)】【慢一字】【一字】【二流】【三(san)流】【浪里(li)(li)鉆(zhan)】【撩子】【滾(gun)白】【灑頭(tou)】；二簧類(lei)板(ban)(ban)式(shi)(shi)有【導(dao)板(ban)(ban)】【回龍】【慢一字】【一字】【扣(kou)扣(kou)板(ban)(ban)】【平(ping)板(ban)(ban)】【浪里(li)(li)鉆(zhan)】【撩子】八(ba)種(zhong)。各種(zhong)板(ban)(ban)式(shi)(shi)的起板(ban)(ban)、轉板(ban)(ban)、落(luo)板(ban)(ban)都有一定規律；唱腔(qiang)也兼用一些昆曲，吹腔(qiang)和民間小調。

代表劇目

漢調(diao)二(er)簧(huang)(huang)傳統劇(ju)目豐(feng)富(fu)，僅安康一地就有(you)一千(qian)二(er)百多種，已挖掘(jue)整(zheng)理(li)出本戲420個，折子戲517個。這(zhe)些劇(ju)目的題材多取自《東(dong)周列國(guo)志》《三國(guo)演義(yi)》《封(feng)神演義(yi)》及其他歷(li)史故事(shi)和民(min)間(jian)傳說，其中的代表性劇(ju)目有(you)《文(wen)姬(ji)辨(bian)琴(qin)》《胡(hu)笳十八拍》《戰(zhan)蚩(chi)尤》《嘗百草》《簧(huang)(huang)天蕩(dang)》《清風亭》《二(er)度梅(mei)》《打龍(long)棚》《梁(liang)紅(hong)玉》等。

主要分類

漢中二簧

嘉(jia)慶(qing)至(zhi)道光(guang)(guang)年(nian)(nian)間(jian)(jian)（1796—1850），楊(yang)金年(nian)(nian)在漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)西鄉(xiang)(xiang)開(kai)辦科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)(de)出(chu)(chu)(chu)科(ke)(ke)(ke)藝(yi)術人(ren)(ren)，分赴(fu)漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各地搭班(ban)(ban)(ban)(ban)(ban)(ban)(ban)或自(zi)行組班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)(chu)，并開(kai)科(ke)(ke)(ke)授徒。使漢(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)(er)簧(huang)在漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各地扎下了(le)(le)根子(zi)，出(chu)(chu)(chu)現了(le)(le)職業戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)仁豐班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、漢(han)(han)(han)(han)(han)(han)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，于道光(guang)(guang)二(er)(er)(er)(er)十年(nian)(nian)前后(hou)(hou)(hou)，還去湖(hu)北、安(an)(an)(an)康等(deng)(deng)(deng)地演出(chu)(chu)(chu)。楊(yang)金年(nian)(nian)、查來(lai)松及(ji)張清壽（人(ren)(ren)稱“活靈官(guan)”），又(you)(you)接辦了(le)(le)永、青長三(san)科(ke)(ke)(ke)，培訓(xun)出(chu)(chu)(chu)的(de)(de)藝(yi)人(ren)(ren)，又(you)(you)分別(bie)組建(jian)起(qi)長勝、青云、永太等(deng)(deng)(deng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，并跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)又(you)(you)代培出(chu)(chu)(chu)太、周(zhou)、萬字(zi)輩藝(yi)人(ren)(ren)，壯(zhuang)大(da)(da)了(le)(le)二(er)(er)(er)(er)簧(huang)力(li)量，形成了(le)(le)上(shang)河調(diao)(diao)（漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)為(wei)(wei)(wei)漢(han)(han)(han)(han)(han)(han)水上(shang)流，當地欲(yu)稱上(shang)河）二(er)(er)(er)(er)簧(huang)。張清壽死后(hou)(hou)(hou)葬于鎮巴縣(xian)城(cheng)東北角，其第子(zi)于墳側(ce)修建(jian)“靈官(guan)廟”一座，廟內存有(you)張的(de)(de)塑像(xiang)，成為(wei)(wei)(wei)后(hou)(hou)(hou)世漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)藝(yi)人(ren)(ren)祭祖之(zhi)地。光(guang)(guang)緒(xu)年(nian)(nian)間(jian)(jian)（1875—1908）漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南(nan)鄭等(deng)(deng)(deng)地，又(you)(you)先后(hou)(hou)(hou)辦起(qi)了(le)(le)大(da)(da)同社(she)、福(fu)(fu)慶(qing)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、雙慶(qing)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)(deng)漢(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)(er)簧(huang)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)。光(guang)(guang)緒(xu)三(san)十三(san)年(nian)(nian)（1907）楊(yang)偉(wei)堂、蘇巒(luan)玉、趙(zhao)某（山陽(yang)縣(xian)人(ren)(ren)）、賀保保（安(an)(an)(an)康人(ren)(ren)），合伙于南(nan)鄭縣(xian)秦家壩(ba)大(da)(da)安(an)(an)(an)寺開(kai)辦了(le)(le)天泰(tai)科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，共收學徒七十余(yu)人(ren)(ren)，為(wei)(wei)(wei)當時(shi)漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)最大(da)(da)的(de)(de)科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。三(san)年(nian)(nian)后(hou)(hou)(hou)，西鄉(xiang)(xiang)縣(xian)的(de)(de)九榮兩科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)四(si)十余(yu)人(ren)(ren)被接納入天泰(tai)科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，人(ren)(ren)員(yuan)多達百余(yu)人(ren)(ren)以上(shang)，曾開(kai)往四(si)川演出(chu)(chu)(chu)。宣統二(er)(er)(er)(er)年(nian)(nian)（1910）于成都首場演出(chu)(chu)(chu)《滿床笏》，轟動一時(shi)。至(zhi)辛亥革命后(hou)(hou)(hou)，李(li)偉(wei)堂才率班(ban)(ban)(ban)(ban)(ban)(ban)(ban)返回漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)。不久，戲(xi)箱(xiang)交由鄭天滿領管，改(gai)天泰(tai)科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)為(wei)(wei)(wei)興漢(han)(han)(han)(han)(han)(han)社(she)，成為(wei)(wei)(wei)漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)二(er)(er)(er)(er)簧(huang)的(de)(de)主(zhu)力(li)。以后(hou)(hou)(hou)三(san)十年(nian)(nian)間(jian)(jian)，馬天慶(qing)（領班(ban)(ban)(ban)(ban)(ban)(ban)(ban)）與(yu)王(wang)吉元、王(wang)來(lai)壽等(deng)(deng)(deng)，跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)帶徒培訓(xun)出(chu)(chu)(chu)福(fu)(fu)、耀、玉、勝等(deng)(deng)(deng)輩學員(yuan)，流布漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各縣(xian)，并組班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)(chu)，遂出(chu)(chu)(chu)現了(le)(le)寧(ning)強(qiang)縣(xian)的(de)(de)賀斌(bin)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、胡家壩(ba)的(de)(de)趙(zhao)開(kai)志(zhi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、留壩(ba)縣(xian)的(de)(de)唐安(an)(an)(an)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、德燕(yan)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)(deng)幾十個(ge)(ge)戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，使漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)派二(er)(er)(er)(er)簧(huang)開(kai)始出(chu)(chu)(chu)現了(le)(le)盛期。抗日(ri)戰爭后(hou)(hou)(hou)期，職業班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)僅(jin)留有(you)蒲正華所領的(de)(de)興漢(han)(han)(han)(han)(han)(han)社(she)，二(er)(er)(er)(er)簧(huang)戲(xi)頓呈衰弱景(jing)況。中(zhong)(zhong)(zhong)(zhong)(zhong)華人(ren)(ren)民共和(he)國成立后(hou)(hou)(hou)，由興漢(han)(han)(han)(han)(han)(han)社(she)和(he)幾個(ge)(ge)業余(yu)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)人(ren)(ren)員(yuan)組成漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市(shi)平(ping)民劇社(she)，后(hou)(hou)(hou)改(gai)為(wei)(wei)(wei)漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市(shi)漢(han)(han)(han)(han)(han)(han)劇團(tuan)(tuan)。1967年(nian)(nian)解散(san)，1979年(nian)(nian)重新恢(hui)復。1981年(nian)(nian)與(yu)漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市(shi)文工團(tuan)(tuan)合并，取(qu)名漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市(shi)實驗劇團(tuan)(tuan)。漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)漢(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)(er)簧(huang)語(yu)音接近(jin)四(si)川，唱腔具有(you)音調(diao)(diao)清新、柔婉的(de)(de)特點。主(zhu)要盛行于漢(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南(nan)鄭、西鄉(xiang)(xiang)、城(cheng)固、鎮巴、勉縣(xian)等(deng)(deng)(deng)地。

安康二簧

自(zi)乾隆（1736—1795），蒿坪河(he)(he)(he)二簧(huang)(huang)乾勝班(ban)(ban)(ban)(ban)、泰豐班(ban)(ban)(ban)(ban)出(chu)(chu)現(xian)后(hou)(hou)，至道光(guang)年(nian)(nian)(nian)間（1821—1850），又有(you)(you)漢(han)(han)(han)榮班(ban)(ban)(ban)(ban)（漢(han)(han)(han)中(zhong)派）、仁(ren)(ren)豐班(ban)(ban)(ban)(ban)、宜太(tai)(tai)班(ban)(ban)(ban)(ban)相(xiang)繼演出(chu)(chu)。咸豐十年(nian)(nian)(nian)（1860）安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)籍藝(yi)(yi)人(ren)(ren)范仁(ren)(ren)寶(bao)（渾名(ming)范驢(lv)子(zi)）從湖(hu)北(bei)(bei)房縣(xian)大覺寺率(lv)領瑞仁(ren)(ren)班(ban)(ban)(ban)(ban)回安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)，于(yu)城內三(san)(san)義廟搭臺(tai)售(shou)票演出(chu)(chu)，又在(zai)金堂(tang)寺、萬壽寺開(kai)(kai)科(ke)(ke)授徒(tu)，培養出(chu)(chu)瑞、彩(cai)、方、盛四(si)科(ke)(ke)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)。該(gai)班(ban)(ban)(ban)(ban)陣容整齊，行(xing)(xing)當齊全，其唱(chang)腔雜有(you)(you)湖(hu)北(bei)(bei)民(min)間曲調(diao)，人(ren)(ren)稱(cheng)下河(he)(he)(he)調(diao)，具有(you)(you)唱(chang)腔清(qing)新(xin)(xin)悅耳(er)，表(biao)演細膩(ni)(ni)神奇的(de)(de)風(feng)格(ge)(ge)，習(xi)(xi)者眾多，使(shi)(shi)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)二簧(huang)(huang)得到了(le)(le)(le)(le)長(chang)足新(xin)(xin)悅耳(er)，表(biao)演細膩(ni)(ni)神奇的(de)(de)風(feng)格(ge)(ge)，習(xi)(xi)者眾多，使(shi)(shi)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)二簧(huang)(huang)得到了(le)(le)(le)(le)長(chang)足發展。同治(zhi)年(nian)(nian)(nian)間（1862—1874）出(chu)(chu)科(ke)(ke)的(de)(de)方、盛兩科(ke)(ke)藝(yi)(yi)術(shu)人(ren)(ren)，先后(hou)(hou)入(ru)(ru)關中(zhong)、四(si)川演出(chu)(chu)；瑞、彩(cai)科(ke)(ke)藝(yi)(yi)人(ren)(ren)長(chang)期駐足于(yu)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)地(di)(di)(di)區(qu)，使(shi)(shi)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)二簧(huang)(huang)在(zai)唱(chang)腔、表(biao)演等(deng)方面發生了(le)(le)(le)(le)較大變化(hua)。清(qing)末民(min)案初，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)各地(di)(di)(di)班(ban)(ban)(ban)(ban)社(she)日益增(zeng)多，最有(you)(you)影響的(de)(de)為(wei)(wei)十三(san)(san)太(tai)(tai)字班(ban)(ban)(ban)(ban)。即金太(tai)(tai)班(ban)(ban)(ban)(ban)、福(fu)太(tai)(tai)班(ban)(ban)(ban)(ban)、鼎(ding)太(tai)(tai)班(ban)(ban)(ban)(ban)、廣太(tai)(tai)班(ban)(ban)(ban)(ban)、隆太(tai)(tai)班(ban)(ban)(ban)(ban)、貴太(tai)(tai)班(ban)(ban)(ban)(ban)、仁(ren)(ren)太(tai)(tai)班(ban)(ban)(ban)(ban)、榮太(tai)(tai)班(ban)(ban)(ban)(ban)、盛太(tai)(tai)班(ban)(ban)(ban)(ban)、喜太(tai)(tai)班(ban)(ban)(ban)(ban)、治(zhi)太(tai)(tai)班(ban)(ban)(ban)(ban)、裕太(tai)(tai)班(ban)(ban)(ban)(ban)和德(de)太(tai)(tai)班(ban)(ban)(ban)(ban)。后(hou)(hou)因連年(nian)(nian)(nian)災荒(huang)，兵匪(fei)橫(heng)行(xing)(xing)，班(ban)(ban)(ban)(ban)社(she)紛(fen)紛(fen)解體。民(min)國(guo)八年(nian)(nian)(nian)（1919）年(nian)(nian)(nian)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)凌成佑，在(zai)城防駐軍北(bei)(bei)洋第(di)(di)七(qi)師的(de)(de)支持(chi)下，成立(li)了(le)(le)(le)(le)漢(han)(han)(han)劇(ju)同心(xin)社(she)，以安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)城為(wei)(wei)大本營，于(yu)陜(shan)(shan)(shan)南漢(han)(han)(han)水流(liu)(liu)域各縣(xian)廟會、商會、鄉鎮售(shou)票演出(chu)(chu)，二簧(huang)(huang)再一次起(qi)興。出(chu)(chu)現(xian)的(de)(de)藝(yi)(yi)人(ren)(ren)有(you)(you)青衣泰斗陳(chen)長(chang)庚(geng)，凈角(jiao)陳(chen)天(tian)靜、知長(chang)福(fu)，花旦閻保林，丑角(jiao)范大德(de)、梁金玉(yu)，生角(jiao)徐茂才(cai)、黃大架(jia)，小生孫玉(yu)寶(bao)、李(li)玉(yu)喜及(ji)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)二簧(huang)(huang)第(di)(di)一代女藝(yi)(yi)人(ren)(ren)鐘玉(yu)鳳、郭(guo)玉(yu)蓮等(deng)。抗日戰(zhan)爭爆發后(hou)(hou)，京(jing)、滬(hu)各地(di)(di)(di)藝(yi)(yi)人(ren)(ren)逃至陜(shan)(shan)(shan)南，京(jing)劇(ju)、越劇(ju)、曲劇(ju)、話劇(ju)及(ji)秦腔傳入(ru)(ru)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)二簧(huang)(huang)又走向了(le)(le)(le)(le)低谷。凌成佑不甘現(xian)狀，在(zai)同心(xin)社(she)開(kai)(kai)辦(ban)科(ke)(ke)班(ban)(ban)(ban)(ban)，培養了(le)(le)(le)(le)一批(pi)二簧(huang)(huang)藝(yi)(yi)人(ren)(ren)，使(shi)(shi)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)二簧(huang)(huang)再度(du)出(chu)(chu)現(xian)了(le)(le)(le)(le)回升之勢。中(zhong)華人(ren)(ren)民(min)共和國(guo)成立(li)后(hou)(hou)，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)地(di)(di)(di)方政府將(jiang)同心(xin)社(she)與西關自(zi)樂社(she)合并(bing)成立(li)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)民(min)劇(ju)院，先后(hou)(hou)排演了(le)(le)(le)(le)《小二黑結婚》、《窮(qiong)人(ren)(ren)恨》、《九件(jian)衣》、《北(bei)(bei)京(jing)四(si)十天(tian)》等(deng)劇(ju)目，受到觀眾歡迎(ying)。1956年(nian)(nian)(nian)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)民(min)劇(ju)院改為(wei)(wei)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)縣(xian)漢(han)(han)(han)劇(ju)團(tuan)。專(zhuan)區(qu)各縣(xian)也(ye)先后(hou)(hou)成立(li)起(qi)縣(xian)屬專(zhuan)業(ye)漢(han)(han)(han)劇(ju)團(tuan)，從業(ye)人(ren)(ren)員達三(san)(san)百(bai)余(yu)人(ren)(ren)。1959年(nian)(nian)(nian)陜(shan)(shan)(shan)西省(sheng)戲曲學校設立(li)漢(han)(han)(han)劇(ju)班(ban)(ban)(ban)(ban)，為(wei)(wei)漢(han)(han)(han)劇(ju)培養學員七(qi)十五名(ming)，充實(shi)了(le)(le)(le)(le)漢(han)(han)(han)劇(ju)新(xin)(xin)生力(li)量。1981年(nian)(nian)(nian)陜(shan)(shan)(shan)西省(sheng)文化(hua)局于(yu)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)舉(ju)行(xing)(xing)了(le)(le)(le)(le)首屆漢(han)(han)(han)劇(ju)會演，名(ming)流(liu)(liu)薈萃，各呈(cheng)異彩(cai)，把二簧(huang)(huang)戲推到一個(ge)新(xin)(xin)的(de)(de)階段(duan)。安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)二簧(huang)(huang)擅(shan)演文戲，唱(chang)腔秀麗、委婉，主要流(liu)(liu)行(xing)(xing)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)(kang)(kang)、旬陽、紫陽、平利、白(bai)河(he)(he)(he)、漢(han)(han)(han)陰、石(shi)泉等(deng)地(di)(di)(di)。

關中二簧

流行于西(xi)(xi)安(an)(an)(an)、三(san)(san)原、涇(jing)陽(yang)(yang)、鳳翔、長安(an)(an)(an)、藍田、周(zhou)至、戶縣(xian)、咸(xian)陽(yang)(yang)、耀縣(xian)等(deng)(deng)(deng)地(di)。注重(zhong)唱工，劇(ju)(ju)本(ben)水(shui)詞少，正、悲劇(ju)(ju)多(duo)，曲(qu)牌、打(da)擊樂(le)多(duo)帶秦(qin)腔風味。最得(de)文人、商紳、旗(qi)、滿、回民和軍政要人的(de)喜好。嘉慶(qing)末年(nian)(nian)(nian)，漢中來字輩出(chu)(chu)科(ke)學(xue)(xue)生賀鴻生，領班(ban)(ban)往(wang)關(guan)(guan)中寶(bao)雞、虢鎮(zhen)、周(zhou)至、戶縣(xian)、涇(jing)陽(yang)(yang)、三(san)(san)原、富平及西(xi)(xi)安(an)(an)(an)南關(guan)(guan)等(deng)(deng)(deng)地(di)演(yan)出(chu)(chu)。受(shou)(shou)其影(ying)響，涇(jing)陽(yang)(yang)、長安(an)(an)(an)、周(zhou)至等(deng)(deng)(deng)地(di)，亦先(xian)后(hou)組織起(qi)二(er)(er)(er)簧(huang)(huang)(huang)班(ban)(ban)社(she)(she)(she)。光緒年(nian)(nian)(nian)間（1875—1908），出(chu)(chu)現了三(san)(san)原的(de)清(qing)義(yi)班(ban)(ban)，涇(jing)陽(yang)(yang)吳(wu)寡婦(fu)(fu)班(ban)(ban)，并開(kai)始有坤(kun)伶清(qing)唱或掛(gua)衣登臺。吳(wu)寡婦(fu)(fu)班(ban)(ban)搜(sou)羅藝人，延聘文人修改劇(ju)(ju)本(ben)，聲譽日增。慈禧(xi)太(tai)后(hou)逃至西(xi)(xi)安(an)(an)(an)后(hou)，該班(ban)(ban)曾應詔承奉獻演(yan)，得(de)到(dao)慈禧(xi)贈匾嘉獎。辛亥革命后(hou)，陜西(xi)(xi)督(du)都張(zhang)翔初(chu)(chu)，革命軍師長張(zhang)云山(shan)(shan)，支(zhi)持在西(xi)(xi)安(an)(an)(an)創辦了二(er)(er)(er)簧(huang)(huang)(huang)鳴盛學(xue)(xue)社(she)(she)(she)，先(xian)后(hou)培養學(xue)(xue)員二(er)(er)(er)百(bai)余人，成為(wei)關(guan)(guan)中地(di)區二(er)(er)(er)簧(huang)(huang)(huang)的(de)最大科(ke)班(ban)(ban)。教師有趙(zhao)安(an)(an)(an)子、吳(wu)李乾(qian)等(deng)(deng)(deng)。出(chu)(chu)科(ke)的(de)演(yan)員有山(shan)(shan)鳴歧(qi)、劉(liu)(liu)(liu)鳴祥(xiang)、張(zhang)鳴峰、雷鳴震等(deng)(deng)(deng)，成為(wei)關(guan)(guan)中二(er)(er)(er)簧(huang)(huang)(huang)的(de)中堅力量，曾受(shou)(shou)聘于四川、甘肅、河南等(deng)(deng)(deng)地(di)傳藝和演(yan)出(chu)(chu)。關(guan)(guan)中二(er)(er)(er)簧(huang)(huang)(huang)演(yan)出(chu)(chu)的(de)主要劇(ju)(ju)目有《火輪牌》、《汜水(shui)關(guan)(guan)》、《破桃(tao)山(shan)(shan)》、《出(chu)(chu)五關(guan)(guan)》、《過巴(ba)州》、《鎖陽(yang)(yang)城》、《四平山(shan)(shan)》等(deng)(deng)(deng)。1925年(nian)(nian)(nian)駐(zhu)軍賈(jia)興運組織的(de)二(er)(er)(er)簧(huang)(huang)(huang)班(ban)(ban)，演(yan)出(chu)(chu)一時而(er)(er)解體。1931年(nian)(nian)(nian)，藝人王安(an)(an)(an)奎創辦志(zhi)義(yi)科(ke)班(ban)(ban)，培養出(chu)(chu)演(yan)員劉(liu)(liu)(liu)志(zhi)俊、劉(liu)(liu)(liu)志(zhi)勝、馮志(zhi)才、邵志(zhi)福、董志(zhi)杰等(deng)(deng)(deng)，同時還出(chu)(chu)現有慶(qing)義(yi)社(she)(she)(she)和中興社(she)(she)(she)，因難(nan)以立足西(xi)(xi)安(an)(an)(an)而(er)(er)多(duo)巡回于外縣(xian)演(yan)出(chu)(chu)。1949年(nian)(nian)(nian)初(chu)(chu)，原“鳴盛學(xue)(xue)社(she)(she)(she)”、“慶(qing)義(yi)社(she)(she)(she)”等(deng)(deng)(deng)漢調(diao)二(er)(er)(er)簧(huang)(huang)(huang)班(ban)(ban)社(she)(she)(she)合并為(wei)“大眾(zhong)劇(ju)(ju)社(she)(she)(she)”，活動(dong)三(san)(san)年(nian)(nian)(nian)散班(ban)(ban)。自(zi)此(ci)，關(guan)(guan)中地(di)區再(zai)無專業(ye)二(er)(er)(er)簧(huang)(huang)(huang)劇(ju)(ju)團，僅(jin)西(xi)(xi)安(an)(an)(an)、藍田、戶縣(xian)尚有二(er)(er)(er)簧(huang)(huang)(huang)研究會(hui)，經(jing)常組織一些業(ye)余演(yan)唱活動(dong)。

洛鎮二簧

盛行于(yu)鎮(zhen)(zhen)(zhen)(zhen)安、山(shan)(shan)陽(yang)、商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)、洛(luo)南(nan)等(deng)(deng)地。向以武戲見長(chang)(chang)，演(yan)《八蠟(la)廟》、《紅(hong)桃(tao)山(shan)(shan)》等(deng)(deng)劇(ju)(ju)(ju)，使用真(zhen)槍真(zhen)刀(dao)。同(tong)治、光緒(xu)年(nian)(nian)(nian)間（1862—1908），出(chu)科于(yu)漢中西鄉(xiang)(xiang)沙河(he)(he)坎楊金年(nian)(nian)(nian)科班(ban)(ban)的(de)(de)(de)名藝人賀鴻(hong)生(sheng)，曾從(cong)湖(hu)北、關(guan)中往返于(yu)商(shang)(shang)(shang)(shang)洛(luo)地區傳播二(er)簧(huang)，培(pei)養出(chu)趙(zhao)安子、吳(wu)(wu)寶卿、演(yan)技超群，頗受(shou)觀(guan)眾(zhong)歡(huan)迎。光緒(xu)二(er)十(shi)四年(nian)(nian)(nian)（1898），清廷還詔趙(zhao)、吳(wu)(wu)進(jin)宮演(yan)唱。姚(yao)政班(ban)(ban)先(xian)后(hou)舉(ju)辦科班(ban)(ban)，培(pei)養出(chu)“廣”、“慶”兩(liang)(liang)科藝人五(wu)(wu)十(shi)余名，壯大(da)(da)(da)了洛(luo)鎮(zhen)(zhen)(zhen)(zhen)二(er)簧(huang)的(de)(de)(de)演(yan)出(chu)隊伍。二(er)十(shi)世紀(ji)二(er)、三十(shi)年(nian)(nian)(nian)代，二(er)簧(huang)戲繼續發展(zhan)，出(chu)現(xian)的(de)(de)(de)班(ban)(ban)社有(you)(you)柞(zuo)(zuo)水(shui)(shui)縣(xian)(xian)(xian)北河(he)(he)代大(da)(da)(da)爺(ye)班(ban)(ban)，商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)城(cheng)內孔海(hai)山(shan)(shan)的(de)(de)(de)商(shang)(shang)(shang)(shang)山(shan)(shan)升平社，商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)北區的(de)(de)(de)屈映南(nan)班(ban)(ban)，鎮(zhen)(zhen)(zhen)(zhen)安縣(xian)(xian)(xian)城(cheng)姚(yao)再勝(sheng)(sheng)的(de)(de)(de)五(wu)(wu)福班(ban)(ban)，云蓋寺的(de)(de)(de)安樂社和柞(zuo)(zuo)水(shui)(shui)石鎮(zhen)(zhen)(zhen)(zhen)、商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)黑龍口、韓峪川、楊斜、東鄉(xiang)(xiang)等(deng)(deng)地的(de)(de)(de)二(er)簧(huang)班(ban)(ban)，共(gong)十(shi)余個(ge)(ge)。藝人有(you)(you)代大(da)(da)(da)爺(ye)班(ban)(ban)的(de)(de)(de)劉五(wu)(wu)燕（紅(hong)生(sheng)、武旦）、張志富（二(er)凈）、朱長(chang)(chang)福（外）、龔金娃（末(mo)）等(deng)(deng)，五(wu)(wu)福班(ban)(ban)的(de)(de)(de)尹(yin)榮山(shan)(shan)（凈）、董興平（旦）、金雙(shuang)慶（生(sheng)）、雷(lei)鳴震（生(sheng)）等(deng)(deng)，安樂社的(de)(de)(de)羅福娃、陳大(da)(da)(da)炮、劉子勝(sheng)(sheng)（生(sheng)）、張長(chang)(chang)生(sheng)（丑）、高志海(hai)（旦）等(deng)(deng)，商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)、山(shan)(shan)陽(yang)、柞(zuo)(zuo)水(shui)(shui)縣(xian)(xian)(xian)各班(ban)(ban)的(de)(de)(de)李保林、王廣翠(cui)、陳剛娃、黃(huang)亮子、呂慶華(hua)、張慶鴻(hong)等(deng)(deng)。演(yan)出(chu)的(de)(de)(de)劇(ju)(ju)(ju)目主要有(you)(you)《斬黃(huang)袍(pao)》《天水(shui)(shui)關(guan)》《端午門》《受(shou)禪臺(tai)》《天才吃饃》《南(nan)北會》《洪羊洞》《白(bai)門樓(lou)(lou)》《清河(he)(he)橋》《大(da)(da)(da)開榜》《元(yuan)宵謎》《梵(fan)王宮》《漁舟配》《鼓滾劉封》《雙(shuang)投(tou)唐》《草(cao)橋關(guan)》《月(yue)明樓(lou)(lou)》《望兒(er)樓(lou)(lou)》等(deng)(deng)。抗日戰爭(zheng)期(qi)間，洛(luo)鎮(zhen)(zhen)(zhen)(zhen)漢調二(er)簧(huang)呈(cheng)現(xian)蕭條(tiao)之勢，不少班(ban)(ban)社解(jie)體。至(zhi)抗日戰爭(zheng)末(mo)期(qi)，只(zhi)有(you)(you)柞(zuo)(zuo)水(shui)(shui)抗建(jian)(jian)劇(ju)(ju)(ju)團、鎮(zhen)(zhen)(zhen)(zhen)安三勝(sheng)(sheng)班(ban)(ban)等(deng)(deng)還在演(yan)出(chu)。中華(hua)人民共(gong)和國成立(li)后(hou)，1955年(nian)(nian)(nian)5月(yue)以大(da)(da)(da)同(tong)社和抗建(jian)(jian)劇(ju)(ju)(ju)團為基礎(chu)建(jian)(jian)立(li)了商(shang)(shang)(shang)(shang)洛(luo)新生(sheng)劇(ju)(ju)(ju)團，1956年(nian)(nian)(nian)秋，鎮(zhen)(zhen)(zhen)(zhen)安縣(xian)(xian)(xian)以三勝(sheng)(sheng)班(ban)(ban)為基礎(chu)組(zu)建(jian)(jian)了群眾(zhong)劇(ju)(ju)(ju)團。1957年(nian)(nian)(nian)后(hou)又(you)相繼組(zu)建(jian)(jian)成立(li)了山(shan)(shan)陽(yang)縣(xian)(xian)(xian)和鎮(zhen)(zhen)(zhen)(zhen)安縣(xian)(xian)(xian)兩(liang)(liang)個(ge)(ge)縣(xian)(xian)(xian)級專業漢劇(ju)(ju)(ju)團，經常于(yu)本縣(xian)(xian)(xian)及商(shang)(shang)(shang)(shang)縣(xian)(xian)(xian)、洛(luo)南(nan)、丹鳳等(deng)(deng)地巡回演(yan)出(chu)。并招收學員，培(pei)養出(chu)武新艾等(deng)(deng)一批演(yan)員。

傳承保護

傳承價值

經研究認定，漢調二簧形(xing)成較(jiao)早，各地其他(ta)皮簧聲腔劇(ju)(ju)種都與之存在(zai)淵源關(guan)系，它(ta)對川劇(ju)(ju)、徽劇(ju)(ju)、京(jing)劇(ju)(ju)等的(de)形(xing)成和發展有著(zhu)不可(ke)忽(hu)略的(de)影響。

傳承現狀

如今(jin)，漢調(diao)二簧觀(guan)眾銳減，經濟上出(chu)現困難，不斷走(zou)向衰落，專(zhuan)業劇(ju)團(tuan)紛紛解(jie)(jie)散，僅(jin)剩下安(an)康漢濱區一(yi)(yi)個(ge)劇(ju)團(tuan)還在維持演出(chu)，而(er)且這個(ge)惟一(yi)(yi)的劇(ju)團(tuan)也正瀕臨解(jie)(jie)散的危機。在此情(qing)勢下，有必要(yao)大聲呼吁，應該盡快對這一(yi)(yi)古老(lao)劇(ju)種進行搶救和保護。

傳承人物

龔尚武，男，漢族，1937年生，陜(shan)西漢陰人，第二(er)批(pi)國家級非物質文(wen)化遺產項(xiang)目漢調二(er)簧代表(biao)性傳承人。

王發蕓，女，漢族，1941年生，陜西安康人，國家二(er)級演(yan)員，第二(er)批(pi)國家級非(fei)物質文化遺產項(xiang)目漢調(diao)二(er)簧(huang)代(dai)表性傳承人。

保護措施

1956年，陜西省文化局及陜西省劇目工(gong)作室(shi)在安康設立專區戲曲發掘組，全面組織二黃老藝人們口述傳代(dai)輩份、班(ban)(ban)社(she)(she)來往(wang)和源(yuan)流沿(yan)革；以及迄今對古戲樓遺存至今的班(ban)(ban)社(she)(she)壁題留(liu)字。

2019年11月，《國家級非物質文(wen)化遺產代表性項目保(bao)(bao)護單(dan)位(wei)名單(dan)》公布，安康市群(qun)眾藝術館、竹溪縣(xian)山二黃(huang)劇種保(bao)(bao)護傳承(cheng)展演中心(xin)獲得“漢調二簧”項目保(bao)(bao)護單(dan)位(wei)資格。

社會影響

重要演出

1981年，陜西省文化廳在安康舉辦“陜西省首屆漢劇會演”，陜南地區(qu)有十余個專業劇團參加演出(chu)，出(chu)現了空前繁榮的局面。

2015年10月16日晚(wan)，為喜迎“第十(shi)一(yi)屆中國文化藝(yi)術節”倒計時一(yi)周年，由寧陜(shan)縣文廣(guang)局主(zhu)辦(ban)、廣(guang)貨街鎮沙溝漢劇(ju)自樂班社承辦(ban)的漢調二黃專場演出(chu)在(zai)寧陜(shan)縣電影院精彩上演。

榮譽表彰

2012年，平利縣選送的(de)漢調二黃戲《八(ba)仙游八(ba)仙》在(zai)首屆漢調二黃自(zi)樂班(ban)社擂臺賽中榮獲一(yi)等獎。

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