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劇種簡史

中(zhong)國三(san)百多個(ge)劇(ju)(ju)(ju)種(zhong)從大(da)的(de)(de)方(fang)面(mian)來(lai)說(shuo)，它(ta)(ta)們(men)分屬五個(ge)不同的(de)(de)聲腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)系(xi)統，即：昆山腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、弋陽(yang)(yang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、柳子(zi)(zi)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、梆(bang)子(zi)(zi)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)和(he)皮黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)。宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)屬于皮黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)一(yi)(yi)類。而(er)據(ju)考宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)就是(shi)(shi)京(jing)劇(ju)(ju)(ju)、贛劇(ju)(ju)(ju)與(yu)(yu)徽、漢、湘等(deng)皮黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)系(xi)統中(zhong)二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)或(huo)稱(cheng)南路(lu)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)前身(shen)，宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)是(shi)(shi)二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)發源(yuan)地(di)(di)，宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)以“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”為(wei)主要唱(chang)(chang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)，（宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)的(de)(de)"宜(yi)(yi)(yi)(yi)"發音與(yu)(yu)"二(er)(er)(er)"方(fang)言古漢語發音相(xiang)同）。“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”因(yin)產于宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)縣(xian)而(er)得名(ming)。宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)又稱(cheng)“戲(xi)鄉”，早在明(ming)(ming)代中(zhong)葉，就成(cheng)為(wei)江(jiang)西(xi)地(di)(di)方(fang)戲(xi)曲(qu)中(zhong)心。明(ming)(ming)末清(qing)初，“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”由(you)在南方(fang)流(liu)(liu)傳的(de)(de)甘(gan)肅“西(xi)秦腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)二(er)(er)(er)犯(fan)”演(yan)變(bian)而(er)成(cheng)。初期為(wei)笛子(zi)(zi)伴奏的(de)(de)“平板吹腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”和(he)有三(san)種(zhong)板式(shi)的(de)(de)“嗩吶(na)(na)二(er)(er)(er)犯(fan)”。清(qing)乾(qian)隆(long)初年“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”廢(fei)嗩吶(na)(na)、改由(you)胡琴(qin)為(wei)主奏樂器，并(bing)將“吹腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”、“二(er)(er)(er)犯(fan)”兩種(zhong)曲(qu)調(diao)(diao)統一(yi)(yi)，“二(er)(er)(er)犯(fan)”分作(zuo)四種(zhong)扳式(shi)，吹腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)變(bian)成(cheng)了二(er)(er)(er)凡的(de)(de)平扳，形(xing)成(cheng)了廣為(wei)流(liu)(liu)傳的(de)(de)“胡琴(qin)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”。“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”產生(sheng)之(zhi)(zhi)后，在江(jiang)西(xi)各地(di)(di)流(liu)(liu)傳，并(bing)為(wei)尚存的(de)(de)江(jiang)西(xi)地(di)(di)方(fang)大(da)戲(xi)劇(ju)(ju)(ju)種(zhong)，如(ru)豫(yu)劇(ju)(ju)(ju)、東河戲(xi)、盱河戲(xi)，寧河戲(xi)等(deng)所(suo)吸收，并(bing)保留(liu) “二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)”這(zhe)(zhe)個(ge)稱(cheng)呼。老(lao)藝人稱(cheng)為(wei)“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)”，因(yin)其基本曲(qu)調(diao)(diao)與(yu)(yu)各地(di)(di)皮黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)劇(ju)(ju)(ju)種(zhong)的(de)(de)二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)類似，故當地(di)(di)人后來(lai)也稱(cheng)“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”為(wei)“老(lao)二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)”。“宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”興(xing)起之(zhi)(zhi)后，向外省流(liu)(liu)傳，浙(zhe)江(jiang)紹興(xing)、北京(jing)、廣州都(dou)有宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)記載，影響很深(shen)。這(zhe)(zhe)正(zheng)如(ru)清(qing)乾(qian)隆(long)四十(shi)九年李調(diao)(diao)元(yuan)所(suo)著《雨村劇(ju)(ju)(ju)話》云：“胡琴(qin)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)起于江(jiang)右，今世盛傳其音……”。清(qing)初江(jiang)西(xi)新建人熊文舉詩(shi)“凄涼羽調(diao)(diao)咽霓裳，欲(yu)譜風流(liu)(liu)筆都(dou)荒，知(zhi)是(shi)(shi)清(qing)源(yuan)留(liu)袒(tan)曲(qu)，湯(tang)詞(ci)端臺唱(chang)(chang)宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)。”這(zhe)(zhe)就是(shi)(shi)說(shuo)：湯(tang)氏所(suo)有劇(ju)(ju)(ju)本，都(dou)由(you)宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)子(zi)(zi)弟來(lai)演(yan)，故有“臨川才子(zi)(zi)，宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)弟子(zi)(zi)”之(zhi)(zhi)說(shuo)。不過，當時(shi)唱(chang)(chang)的(de)(de)宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)，是(shi)(shi)由(you)海鹽腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)與(yu)(yu)當地(di)(di)流(liu)(liu)行的(de)(de)弋陽(yang)(yang)土(tu)調(diao)(diao)相(xiang)結合的(de)(de)變(bian)調(diao)(diao)，不是(shi)(shi)如(ru)今所(suo)唱(chang)(chang)的(de)(de)二(er)(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。這(zhe)(zhe)充分說(shuo)明(ming)(ming)宜(yi)(yi)(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)曲(qu)活(huo)動活(huo)躍，人才輩(bei)出，是(shi)(shi)個(ge)“戲(xi)窩(wo)子(zi)(zi)”。它(ta)(ta)有著產生(sheng)一(yi)(yi)種(zhong)戲(xi)曲(qu)新腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)基礎和(he)條件。

宜黃(huang)戲是(shi)如今尚存的(de)江西地方贛語大(da)戲劇(ju)種，江西省古老的(de)傳統(tong)贛語戲曲之一。發(fa)源于(yu)江西宜黃(huang)縣，起始于(yu)明末清初

（1644），迄(qi)今已有近四百年歷史(shi)。形成發展于清(qing)(qing)乾(qian)隆初期（1786），興盛流傳于清(qing)(qing)嘉慶(qing)至(zhi)光緒時期（1880前后），衰(shuai)落于清(qing)(qing)末至(zhi)民國戰亂時期（1920-1948）。

舊稱宜黃(huang)班，明末清(qing)初開始(shi)專唱“宜黃(huang)腔(qiang)”。清(qing)末以后，吸收了其它(ta)亂彈的(de)(de)聲腔(qiang)和劇目（如西(xi)皮(pi)、浙調、吹(chui)腔(qiang)、撥子、南北詞等(deng)）而(er)成(cheng)為由(you)多種(zhong)聲腔(qiang)綜合而(er)成(cheng)的(de)(de)宜黃(huang)戲劇種(zhong)。主要流行地(di)區為江西(xi)的(de)(de)宜黃(huang)、南城(cheng)、南豐、廣昌(chang)等(deng)縣，遠及贛(gan)東北，贛(gan)南和福建閩西(xi)一(yi)帶。

宜(yi)黃戲班在明朝就很出(chu)名(ming)，中國(guo)杰出(chu)戲劇(ju)家湯顯祖(zu)的(de)劇(ju)作《臨川四夢》，最(zui)初就由宜(yi)黃班演出(chu)，并因此有“宜(yi)伶”、“宜(yi)黃子弟(di)”之說。但那時(shi)的(de)宜(yi)黃班先唱弋(yi)陽(yang)腔(qiang)。“弋(yi)陽(yang)之調絕”，相繼興起的(de)便是(shi)徽州、青(qing)陽(yang)兩腔(qiang)的(de)流行(xing)。不久，引進(jin)了海鹽腔(qiang)，隨后占據了江(jiang)西劇(ju)壇，盛極(ji)一時(shi)。

民(min)國期間，宜黃(huang)已無專(zhuan)業班(ban)社存在。新中國成立后(hou)，宜黃(huang)縣為恢(hui)復這個古老劇種，于1956年(nian)定名為“宜黃(huang)戲”并正式成立專(zhuan)業國營“宜黃(huang)戲劇團”（1989年(nian)撤(che)消）。

“文革(ge)”時期（1966-1976年）遭扼(e)殺，演職人員被批斗(dou)，服裝(zhuang)頭飾被付(fu)之一(yi)炬。

1978年后開(kai)始搶救(jiu)、保護工作。

2006年6月被正式列為首批(pi)(pi)國家級非(fei)物質文化遺(yi)產項目。列入(ru)江西省第一批(pi)(pi)省級非(fei)物質文化遺(yi)產名(ming)錄。

江西“宜黃戲(xi)(xi)”正(zheng)式被入選國(guo)家級非(fei)物(wu)質(zhi)文化遺(yi)產名錄，宜黃戲(xi)(xi)和宜黃腔在(zai)(zai)中(zhong)國(guo)戲(xi)(xi)曲史上依然顯示出(chu)耀眼光芒和四射魅力。事實上，幾百年(nian)來宜黃戲(xi)(xi)就(jiu)以(yi)其鮮明的(de)(de)表演風格、優(you)美(mei)(mei)的(de)(de)聲腔和人人愛(ai)聽(ting)能懂的(de)(de)語言及不斷更新(xin)的(de)(de)劇(ju)目(mu)活躍在(zai)(zai)中(zhong)國(guo)各地的(de)(de)舞(wu)臺，宜黃戲(xi)(xi)由(you)于它在(zai)(zai)劇(ju)本、表演、音(yin)樂、舞(wu)美(mei)(mei)（包括臉譜(pu)服飾）等諸(zhu)方(fang)面(mian)的(de)(de)鮮明地方(fang)色彩贏得(de)了其在(zai)(zai)戲(xi)(xi)曲上的(de)(de)歷史地位，也贏得(de)了廣大觀眾(zhong)和戲(xi)(xi)迷的(de)(de)喜愛(ai)。

戲曲音樂

唱腔特征

江(jiang)西(xi)古老贛(gan)語劇種之一。發源(yuan)于(yu)宜(yi)黃(huang)縣，迄今已有近四百年歷史，中心流傳地區為(wei)江(jiang)西(xi)的宜(yi)黃(huang)、南(nan)城、南(nan)豐、廣(guang)昌等縣，遠及贛(gan)東(dong)北、贛(gan)南(nan)、閩西(xi)一帶。

現今(jin)流行(xing)的(de)(de)宜(yi)(yi)黃(huang)(huang)(huang)(huang)戲，是(shi)清(qing)(qing)初在(zai)(zai)宜(yi)(yi)黃(huang)(huang)(huang)(huang)縣(xian)發展(zhan)起(qi)來(lai)的(de)(de)（因(yin)江(jiang)浙(zhe)音“宜(yi)(yi)”、“二(er)”不分(fen)，故后來(lai)有人稱“宜(yi)(yi)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”是(shi)“二(er)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”）。究其(qi)根(gen)源，可以(yi)(yi)(yi)直溯(su)明朝的(de)(de)西秦腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。這種(zhong)西秦腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)曲調包(bao)括以(yi)(yi)(yi)嗩吶伴奏的(de)(de)[二(er)犯]及(ji)以(yi)(yi)(yi)笛(di)子(zi)伴奏的(de)(de)[吹(chui)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)]。其(qi)中的(de)(de)[二(er)犯]因(yin)較之西秦腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)之“二(er)犯”有很(hen)(hen)大發展(zhan)，便成(cheng)了獨(du)樹一幟(zhi)的(de)(de)宜(yi)(yi)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。乾隆(long)初，宜(yi)(yi)伶(ling)又以(yi)(yi)(yi)原(yuan)配奏樂器大筒胡(hu)琴改為(wei)主奏樂器，從(cong)此(ci)嗩吶[二(er)犯]及(ji)平板(ban)(ban)[吹(chui)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)]一變為(wei)胡(hu)琴腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。清(qing)(qing)代(dai)戲曲家李調元在(zai)(zai)《雨村劇(ju)(ju)話》中曾(ceng)寫道(dao)胡(hu)琴腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)起(qi)于(yu)江(jiang)右（即江(jiang)西），又名二(er)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。胡(hu)琴腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)誕生，標志(zhi)著板(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)音樂在(zai)(zai)南方增加(jia)了一路。宜(yi)(yi)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)崛起(qi)后，流行(xing)很(hen)(hen)廣，現贛劇(ju)(ju)、徽(hui)劇(ju)(ju)、祁劇(ju)(ju)中所(suo)唱的(de)(de)“二(er)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”（或稱南路），是(shi)直接由(you)宜(yi)(yi)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)傳去的(de)(de)，所(suo)以(yi)(yi)(yi)宜(yi)(yi)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)對(dui)中國許多劇(ju)(ju)種(zhong)中“二(er)黃(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”的(de)(de)形成(cheng)有著直接影響。

宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)舊稱宜(yi)(yi)黃(huang)(huang)班、宜(yi)(yi)黃(huang)(huang)調(diao)(diao)(diao)，主(zhu)要流行于江西(xi)的(de)(de)(de)宜(yi)(yi)黃(huang)(huang)、南(nan)(nan)城、南(nan)(nan)豐、廣昌等(deng)縣。它以明(ming)(ming)末西(xi)秦腔演(yan)(yan)變成(cheng)的(de)(de)(de)宜(yi)(yi)黃(huang)(huang)腔 宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)為(wei)主(zhu)要唱腔，清(qing)末吸收其他(ta)亂(luan)彈(dan)的(de)(de)(de)聲(sheng)腔和劇(ju)目(mu)(mu)(mu)而形成(cheng)一(yi)個多種(zhong)(zhong)(zhong)(zhong)(zhong)聲(sheng)腔綜(zong)合(he)的(de)(de)(de)劇(ju)種(zhong)(zhong)(zhong)(zhong)(zhong)。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)的(de)(de)(de)傳統(tong)劇(ju)目(mu)(mu)(mu)約有(you)五百余(yu)種(zhong)(zhong)(zhong)(zhong)(zhong)，但絕大多數已經失傳。 《雌雄鞭》 、 《慶陽(yang)圖》 、 《雙(shuang)龍會》 、 《上(shang)天臺》 、 《老(lao)(lao)君堂》 、《清(qing)官(guan)冊》 、 《藥茶記》 、 《三官(guan)堂》 、《奇雙(shuang)配(pei)(pei)》 、 《四國(guo)齊》 、《飛龍傳》 、 《月(yue)明(ming)(ming)樓》 、 《江東橋》 、 《春秋配(pei)(pei)》 、 《龍鳳閣》 、 《拷打春桃》 、 《八(ba)仙飄海》 、 《賣梨招親》等(deng)皆是(shi)其代表性劇(ju)目(mu)(mu)(mu)。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)的(de)(de)(de)有(you)些(xie)演(yan)(yan)出劇(ju)目(mu)(mu)(mu)還保留了(le)早(zao)期的(de)(de)(de)關目(mu)(mu)(mu)和排場，顯得十分古樸。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)的(de)(de)(de)曲調(diao)(diao)(diao)主(zhu)要有(you)宜(yi)(yi)黃(huang)(huang)腔、反調(diao)(diao)(diao)、嗩(suo)吶二(er)凡、西(xi)皮浙調(diao)(diao)(diao)、南(nan)(nan)北詞等(deng)，同(tong)時還保留西(xi)秦腔時代的(de)(de)(de)吹(chui)腔，俗名“平板吹(chui)腔”。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)唱腔較為(wei)原始、平直，拖腔少(shao)而短，老(lao)(lao)生、老(lao)(lao)旦(dan)用本(ben)嗓(sang)，小(xiao)(xiao)生大小(xiao)(xiao)嗓(sang)結合(he)而尾音常翻高八(ba)度，男(nan)女同(tong)腔同(tong)調(diao)(diao)(diao)。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)的(de)(de)(de)腳(jiao)色發(fa)展到近(jin)代可(ke)以分為(wei)正(zheng)生、小(xiao)(xiao)生、老(lao)(lao)生、副(fu)生、正(zheng)旦(dan)、小(xiao)(xiao)旦(dan)、二(er)旦(dan)、老(lao)(lao)旦(dan)、大花(hua)、二(er)花(hua)、三花(hua)、四 宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)花(hua)十二(er)行。其表演(yan)(yan)粗獷古樸，嚴謹工穩。有(you)些(xie)戲(xi)(xi)中表現人(ren)物騎馬，不(bu)用馬鞭代替馬身(shen)，而采用元(yuan)明(ming)(ming)雜(za)劇(ju)的(de)(de)(de)方式，將馬形扎于身(shen)上(shang)，隨(sui)著(zhu)鑼鼓(gu)打出的(de)(de)(de)馬蹄聲(sheng)應節而舞，作出跑馬的(de)(de)(de)身(shen)段。這種(zhong)(zhong)(zhong)(zhong)(zhong)古老(lao)(lao)的(de)(de)(de)表演(yan)(yan)方式在(zai)其他(ta)劇(ju)種(zhong)(zhong)(zhong)(zhong)(zhong)中早(zao)已絕跡，而惟獨在(zai)宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)中保存下來了(le)。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)，地方大戲(xi)(xi)劇(ju)種(zhong)(zhong)(zhong)(zhong)(zhong)。舊稱宜(yi)(yi)黃(huang)(huang)班、明(ming)(ming)末清(qing)初開(kai)始專唱“宜(yi)(yi)黃(huang)(huang)腔”。

宜黃戲唱腔

江西宜黃戲原先專唱宜黃腔，到了清(qing)朝同治年間，又從(cong)贛劇中(zhong)吸收了西皮(pi)調，最后也變為皮(pi)黃戲劇種。但(dan)其傳統劇目，仍是宜黃戲多于西皮(pi)戲。

宜黃戲的(de)曲調主要有(you)(you)宜黃腔（二凡）、反調（凡字）、嗩吶二凡、西皮(pi)浙調、南北(bei)詞等。還有(you)(you)其(qi)它(ta)一些腔調及(ji)民(min)間小調。

宜黃戲(xi)(xi)的(de)唱腔(qiang)較原始(shi)，平直，拖(tuo)腔(qiang)少而短，老生老旦用(yong)本嗓，小生大小嗓結合而尾音常翻高八度，男女同腔(qiang)同調。現宜黃戲(xi)(xi)以(yi)二犯、凡字(zi)、西皮(pi)垛子等幾種聲腔(qiang)旋(xuan)律為(wei)骨，以(yi)當地民歌、地方(fang)小調為(wei)肉，對一些傳統(tong)戲(xi)(xi)和現代戲(xi)(xi)的(de)唱腔(qiang)作革新，念白采用(yong)“宜黃官(guan)話”上韻(yun)。

在宜黃戲歷(li)史考(kao)查方面，專家們作了大量的資料考(kao)證，“二黃”源于“宜黃腔”的見解(jie)，已引(yin)起(qi)學術界的高度重視。

宜黃戲(xi)著(zhu)名老藝人(ren)有李(li)伍仂、李(li)宗保(bao)，著(zhu)名演員有應(ying)用(yong)賢、熊碧云等。

宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)的(de)唱腔(qiang)(qiang)(qiang)(qiang)音(yin)(yin)樂(le)包括宜(yi)(yi)黃(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)（二凡(fan)）、反(fan)調（凡(fan)字(zi)(zi)）、嗩(suo)吶二凡(fan)、西皮、浙調、南北詞等(deng)，并且(qie)還保留西秦腔(qiang)(qiang)(qiang)(qiang)時代的(de)吹腔(qiang)(qiang)(qiang)(qiang)，俗名“平(ping)板(ban)吹腔(qiang)(qiang)(qiang)(qiang)”。宜(yi)(yi)黃(huang)(huang)戲(xi)(xi)唱腔(qiang)(qiang)(qiang)(qiang)音(yin)(yin)樂(le)的(de)板(ban)式(shi)結構為(wei)上(shang)下對偶(ou)格式(shi)，由一對或多對上(shang)下句的(de)反(fan)復(fu)形(xing)成唱段。每句唱詞為(wei)比較正規的(de)七字(zi)(zi)句和十字(zi)(zi)句。旋(xuan)律特征為(wei)簡單質樸、起唱與落腔(qiang)(qiang)(qiang)(qiang)音(yin)(yin)少(shao)而聲短，以字(zi)(zi)就腔(qiang)(qiang)(qiang)(qiang)，近似口語，曲調音(yin)(yin)域(yu)不寬，多在六度范圍之內回旋(xuan)。宜(yi)(yi)黃(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)主要(yao)以宜(yi)(yi)黃(huang)(huang)官(guan)話上(shang)韻(yun)，演唱時男(nan)(nan)女同調不同腔(qiang)(qiang)(qiang)(qiang)。男(nan)(nan)腔(qiang)(qiang)(qiang)(qiang)用本嗓，包括正生、老(lao)生、花臉、老(lao)旦；女腔(qiang)(qiang)(qiang)(qiang)用小(xiao)嗓，包括小(xiao)旦、小(xiao)生、正旦。

二凡──亦作“二犯”，是宜(yi)黃戲(xi)的(de)(de)主要曲調。其板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有：[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，又(you)叫(jiao)[慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，一(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)眼(yan)，相(xiang)當(dang)于(yu)(yu)京劇(ju)的(de)(de)二黃原(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)；[ 簡板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，又(you)叫(jiao)[快板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，一(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)眼(yan)，速度(du)略快于(yu)(yu)正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)；[倒板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[散唱(chang)(chang)(chang)(chang)(chang)]，無(wu)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)無(wu)眼(yan)，自(zi)由(you)節奏(zou)(zou)(zou)，為(wei)唱(chang)(chang)(chang)(chang)(chang)段的(de)(de)第(di)一(yi)(yi)(yi)句(ju)(ju)，下(xia)接(jie)[十八(ba)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]；[十八(ba)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]帶有垛句(ju)(ju)子(zi)，最(zui)后有一(yi)(yi)(yi)拖腔；[緊中緩(huan)]，又(you)名[緊板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，緊拉慢唱(chang)(chang)(chang)(chang)(chang)，節奏(zou)(zou)(zou)自(zi)由(you)，伴奏(zou)(zou)(zou)時有上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、不上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)兩種(zhong)，上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)(de)節奏(zou)(zou)(zou)感強一(yi)(yi)(yi)些，叫(jiao)[搖(yao)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，不上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)(de)叫(jiao)[散板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]；[平板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，一(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)眼(yan)，有快、慢兩種(zhong)，[平板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]無(wu)過門(men)，[頂板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]開(kai)(kai)口，后借用了(le)[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]的(de)(de)過門(men)。另外有種(zhong)[平板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]轉[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]的(de)(de)唱(chang)(chang)(chang)(chang)(chang)腔，即前三(san)句(ju)(ju)唱(chang)(chang)(chang)(chang)(chang)[平板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，從(cong)第(di)四句(ju)(ju)開(kai)(kai)始(shi)轉唱(chang)(chang)(chang)(chang)(chang)[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[斬板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[滿板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，相(xiang)當(dang)于(yu)(yu)京劇(ju)的(de)(de)[碰板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[頂板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]。它不是獨立的(de)(de)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)，因劇(ju)情的(de)(de)需要而(er)(er)用，開(kai)(kai)唱(chang)(chang)(chang)(chang)(chang)時省去過門(men)，如《三(san)娘教子(zi)》正(zheng)(zheng)旦(dan)唱(chang)(chang)(chang)(chang)(chang)的(de)(de)“老薛保”一(yi)(yi)(yi)段起板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)即是。宜(yi)黃腔從(cong)散唱(chang)(chang)(chang)(chang)(chang)到上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)以后，也只是發(fa)展為(wei)一(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)眼(yan)的(de)(de)[正(zheng)(zheng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[簡板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]，而(er)(er)無(wu)一(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)三(san)眼(yan)的(de)(de)[慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]和[中板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]。散唱(chang)(chang)(chang)(chang)(chang)形式(shi)也僅有[緊中緩(huan)]而(er)(er)未分出[散板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[搖(yao)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[滾板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]等。

凡字──又名(ming)“還魂腔”、“陰司調(diao)”。類似京劇(ju)中反二黃。其(qi)(qi)腔來(lai)源于青(qing)陽腔的曲牌[苦(ku)飛子]，首先在湖北(bei)黃梅戲中加工(gong)、應用(yong)，后來(lai)在宜黃戲中定型(xing)。其(qi)(qi)音(yin)調(diao)低沉傷感，如(ru)泣如(ru)訴，多用(yong)于哭(ku)靈(ling)、托夢時(shi)訴說哀苦(ku)之(zhi)情(qing)。胡琴定弦(xian)為(wei)“1－ 5”，為(wei)二凡“5－2”的反線，故又名(ming)“反字”。有時(shi)以嗩吶伴奏(zou)， 配以大(da)鑼大(da)鼓，更增肅穆、悲苦(ku)之(zhi)情(qing)，其(qi)(qi)板式用(yong)于二凡。

嗩吶(na)二(er)凡──以嗩吶(na)為(wei)(wei)主要樂器，其唱(chang)(chang)(chang)腔宜于抒(shu)發高亢悲壯的情緒。這種(zhong)腔調早期的板(ban)(ban)式結(jie)構(gou)，分為(wei)(wei)[倒板(ban)(ban)]、[正板(ban)(ban)]和(he)[ 流水板(ban)(ban)]。其中[倒板(ban)(ban)]為(wei)(wei)四句，第(di)一(yi)(yi)句屬倒板(ban)(ban)腔，其余三句是散唱(chang)(chang)(chang)，第(di)四句末(mo)尾三字，上板(ban)(ban)出現一(yi)(yi)小拖腔，下接(jie)一(yi)(yi)板(ban)(ban)一(yi)(yi)眼的正板(ban)(ban)，句數不(bu)等，再轉緊打慢唱(chang)(chang)(chang)的流水板(ban)(ban)。

西皮(pi)──系(xi)來自(zi)贛劇(ju)的(de)(de)貴溪班。有[倒板]、[正(zheng)板]、[垛子]、[搖(yao)板]、[快板]等板式(shi)，男女腔(qiang)不同(tong)，較特別(bie)的(de)(de)是，女腔(qiang)正(zheng)板上下句均為(wei)板上開(kai)口。

浙調(diao)、南北詞──外劇種傳入。浙調(diao)有[倒板(ban)(ban)(ban)]、[平板(ban)(ban)(ban) ]、[疊板(ban)(ban)(ban)]、[流(liu)水]等，用(yong)笛或小嗩吶伴奏(zou)，歡(huan)快跳躍(yue)。南北詞原系民間坐唱的一種聲(sheng)腔，曲(qu)調(diao)優美、通俗(su)，長于抒情(qing)。南詞板(ban)(ban)(ban)式有[原板(ban)(ban)(ban)]、[快板(ban)(ban)(ban)]、[尾聲(sheng)]等；北詞有[原板(ban)(ban)(ban)]、[快板(ban)(ban)(ban)]、[疊板(ban)(ban)(ban)]等。演唱的劇目有《牡丹對藥》、《拜月》、《白蛇(she)傳》等。

表演藝術

宜(yi)(yi)黃戲的(de)表演粗獷(guang)、古樸。唱念做打，程式(shi)嚴謹；一(yi)招一(yi)式(shi)，循規蹈矩(ju)。平時(shi)練(lian)功要求(qiu)甚嚴，相傳有“腋下(xia)夾蛋，頸旁備針(zhen)”之說。武將“起霸”做出(chu)的(de)“雙手撐天(tian)”，要根(gen)據(ju)人物的(de)不同身份而(er)分別采用“龍(long)(long)爪(zhua)”或“虎爪(zhua)”等不同的(de)姿態。馬(ma)(ma)鞭(bian)也根(gen)據(ju)人物的(de)不同身份而(er)區別使用，有“龍(long)(long)頭”、“鳳尾”數種(zhong)，或木刻，或絲編，帝王則(ze)用“龍(long)(long)頭”鞭(bian)，稱(cheng)為乘龍(long)(long)駒。《四(si)圖(tu)齊》“花園點(dian)馬(ma)(ma)”一(yi)折，齊景公(gong)點(dian)馬(ma)(ma)時(shi)，鐘離春和四(si)個女兵不用鞭(bian)代(dai)馬(ma)(ma)，卻采用元明雜劇的(de)騎(qi)車馬(ma)(ma)，即以馬(ma)(ma)形扎于身上(shang)，隨著鑼鼓打出(chu)的(de)馬(ma)(ma)蹄聲，應節而(er)舞，作出(chu)某種(zhong)跑馬(ma)(ma)身段，滿臺來往穿(chuan)梭，效(xiao)果強烈，別具一(yi)格。這種(zhong)古老的(de)表演方式(shi)在(zai)其他劇種(zhong)早已絕見，而(er)唯獨(du)在(zai)宜(yi)(yi)黃戲中(zhong)保存下(xia)來了。

宜黃戲凈角的表(biao)演大(da)多豪(hao)放、爽直；生角的表(biao)演大(da)多儒(ru)雅、大(da)方。生、凈常用(yong)的身(shen)段表(biao)演有(you)(you)：修書、閱(yue)信（奏折）、上(shang)（下）馬、點（吹）燈、舞劍、飲酒、升堂、坐帳等(deng)(deng)(deng)；必(bi)備基(ji)本功(gong)有(you)(you)“搶背”、“撲虎”、“旋子”、“克子”、“僵(jiang)尸”以(yi)及甩發(fa)動等(deng)(deng)(deng)；基(ji)本步(bu)法(fa)有(you)(you)“方步(bu)”、“蹉步(bu)”、“墊步(bu)”、“跪(gui)步(bu)”等(deng)(deng)(deng)。旦(dan)角的表(biao)演大(da)多端莊、嫻靜。常用(yong)的身(shen)段表(biao)演有(you)(you)：開(kai)（關）門(men)、灑(sa)掃(sao)、撫(fu)琴、卷(juan)簾、妝扮等(deng)(deng)(deng)；必(bi)備基(ji)本功(gong)有(you)(you)“臥云”、“鷂(yao)子翻身(shen)”、“烏龍絞柱”以(yi)及水袖功(gong)等(deng)(deng)(deng)。

傳統劇目

宜黃(huang)(huang)戲(xi)的(de)傳統劇目(mu)頗(po)為(wei)(wei)豐富，大、小約有(you)五(wu)百余種(zhong)(zhong)，但絕大多數已(yi)經失(shi)傳，多是(shi)以(yi)腔(qiang)(qiang)定(ding)本(ben)。其內容(rong)以(yi)演(yan)歷史故(gu)事為(wei)(wei)主，其曲調以(yi)唱(chang)(chang)宜黃(huang)(huang)腔(qiang)(qiang)居多。據已(yi)知(zhi)的(de)宜黃(huang)(huang)戲(xi)早期劇目(mu)中，專唱(chang)(chang)宜黃(huang)(huang)腔(qiang)(qiang)的(de)有(you)五(wu)十(shi)(shi)八種(zhong)(zhong)，這是(shi)現(xian)今全國皮黃(huang)(huang)戲(xi)劇目(mu)保留(liu)二黃(huang)(huang)腔(qiang)(qiang)最(zui)多的(de)一個古老(lao)劇種(zhong)(zhong)。由(you)于宜黃(huang)(huang)腔(qiang)(qiang)發源(yuan)于西(xi)秦(qin)(qin)腔(qiang)(qiang)，同時，又因受秦(qin)(qin)腔(qiang)(qiang)的(de)影響，所以(yi)在宜黃(huang)(huang)戲(xi)的(de)基本(ben)劇目(mu)里(li)，傳自西(xi)秦(qin)(qin)腔(qiang)(qiang)的(de)二十(shi)(shi)種(zhong)(zhong)之多，即《清官冊》、《五(wu)雷陣》、《鬧沙河(he)(he)》、《藥(yao)茶記》、《三(san)官堂》、《肉(rou)龍(long)(long)頭》、《松蓬(peng)會(hui)》、《寶(bao)蓮燈(deng)》、《萬里(li)侯(hou)》、《下河(he)(he)東》、《奇雙(shuang)(shuang)配(pei)》、《雙(shuang)(shuang)救駕(jia)》、《雙(shuang)(shuang)貴圖(tu)》、《雙(shuang)(shuang)釘案(an)》、《四國齊》、《打(da)金(jin)冠》、《打(da)登州(zhou)》、《雌雄鞭》、《孟津會(hui)》、《慶陽圖(tu)》等。移(yi)植于秦(qin)(qin)腔(qiang)(qiang)的(de)有(you)十(shi)(shi)三(san)種(zhong)(zhong)，即《雙(shuang)(shuang)龍(long)(long)會(hui)》、《上(shang)天臺》、《黃(huang)(huang)金(jin)塔(ta)》、《定(ding)中原》、《鎖五(wu)龍(long)(long)》、《老(lao)君堂》、《五(wu)龍(long)(long)會(hui)》、《紫金(jin)鏢》、《蘆花(hua)河(he)(he)》、《飛龍(long)(long)傳》、《下南唐》、《五(wu)雄陣》、《錦(jin)羅(luo)帳》等。西(xi)皮戲(xi)不多，直至清末，也只(zhi)有(you)《月明樓》、《江東橋》、《春秋配(pei)》等十(shi)(shi)余出。

宜黃戲的(de)藝術(shu)古樸，表演(yan)嚴(yan)謹。有(you)些演(yan)出劇(ju)目還保留了早期的(de)關目和排場，如《龍鳳閣》一劇(ju)，較京劇(ju)多出《趙飛搬兵》、《抱(bao)龍登基》等場次。

1957年，在宜(yi)(yi)(yi)黃縣成立了(le)宜(yi)(yi)(yi)黃戲(xi)專業劇(ju)團后，進(jin)行了(le)大量的挖掘(jue)、整(zheng)理(li)傳(chuan)(chuan)統劇(ju)目(mu)工(gong)作，使能夠經常上演(yan)的傳(chuan)(chuan)統劇(ju)目(mu)達(da)七十多(duo)個。同年，宜(yi)(yi)(yi)黃戲(xi)赴(fu)省匯報演(yan)出了(le)《龍鳳閣》、《奇雙配》、《朱(zhu)砂印(yin)(yin)》、《攔江救主(zhu)》、《拷(kao)打春(chun)桃》等(deng)(deng)劇(ju)目(mu)。1958年，中(zhong)國(guo)唱片(pian)公司將(jiang)《奇雙配》中(zhong)李奇“哭監(jian)”和(he)《孫氏祭江》中(zhong)孫尚香“祭江”唱段錄制成唱片(pian)。整(zheng)理(li)改編的傳(chuan)(chuan)統劇(ju)目(mu)《八(ba)仙飄海》、《賣(mai)梨招親》、《陳(chen)琳拷(kao)寇》、《齊王哭殿》、《思春(chun)》等(deng)(deng)，在省、市匯演(yan)時都(dou)受到獎勵(li)。同時，還移植(zhi)了(le)《蘆蕩火種(zhong)》、《奪印(yin)(yin)》，自編了(le)《第一(yi)爐銅(tong)》、《焦裕祿》、《革命女兒》、《送郎(lang)當紅軍》、《表(biao)》、《兩篇作文(wen)》、《山城春(chun)曉(xiao)》、《兄弟，開槍吧(ba)》等(deng)(deng)現代宜(yi)(yi)(yi)黃戲(xi)。

宜黃戲傳統劇(ju)目豐(feng)富，特色鮮明，旋律簡單平(ping)直，尤以(yi)平(ping)板(ban)有特殊的(de)(de)地位(wei)和(he)用(yong)法，以(yi)至許多人(ren)把它看成是(shi)二(er)凡的(de)(de)一(yi)種板(ban)式；整(zheng)本(ben)戲多，故事(shi)性(xing)強；角色分工細致，唱腔(qiang)簡煉樸實，唱腔(qiang)口語化，易學(xue)易懂；表演粗獷(guang)大方(fang)，唱做念打形成一(yi)套(tao)既嚴謹(jin)而又靈活的(de)(de)程(cheng)式，用(yong)胡琴伴奏，地方(fang)色彩很濃，與京劇(ju)、贛劇(ju)很不(bu)相同；是(shi)能適應表現各種不(bu)同性(xing)格的(de)(de)人(ren)物(wu)和(he)不(bu)同時代、內容的(de)(de)劇(ju)目。

具(ju)體(ti)說，宜黃戲的鮮明特點主要體(ti)現在聲腔(qiang)方面。宜黃戲聲腔(qiang)眾多，屬亂彈系統板腔(qiang)體(ti)。其包括有：宜黃腔(qiang)（二(er)凡、平板、反二(er)凡），西皮(pi)、浙調(diao)、吹(chui)腔(qiang)、撥子、南北(bei)詞和昆曲(qu)、小調(diao)等近十種，均各具(ju)特色。

宜黃(huang)戲的演(yan)唱(chang)特點是旦(dan)行用(yong)(yong)(yong)小嗓(sang)、小生真假嗓(sang)結合，其(qi)它行當用(yong)(yong)(yong)大嗓(sang)。演(yan)唱(chang)時(shi)講(jiang)究吐字(zi)清晰、音(yin)(yin)(yin)隨字(zi)走。傳統唱(chang)腔(qiang)中(zhong)，襯字(zi)運用(yong)(yong)(yong)很多，幾乎每句均(jun)有。行腔(qiang)中(zhong)常用(yong)(yong)(yong)倚音(yin)(yin)(yin)、波音(yin)(yin)(yin)和下滑音(yin)(yin)(yin)等潤腔(qiang)手法。語言用(yong)(yong)(yong)的是中(zhong)州韻，只是丑角多用(yong)(yong)(yong)宜黃(huang)方言。

椐統計(ji)，在整(zheng)本(ben)戲中(zhong)，專唱(chang)宜(yi)黃腔的(de)有(you)81出。其中(zhong)，繼承西秦腔的(de)劇(ju)目有(you)《清官冊(ce)》、《王雪陳》、《鬧沙河》……等(deng)20出；移植秦腔的(de)劇(ju)目有(you)《雙龍會》、《上天臺》、《黃金塔》……等(deng)12出；依腔定本(ben)、編創新的(de)劇(ju)目有(you)《滿門(men)賢》、《天緣配》、《錦(jin)羅帳》、《九炎山》、《三(san)代榮》……等(deng)39出。

傳承意義

宜(yi)黃(huang)戲，宜(yi)黃(huang)腔在(zai)中(zhong)國(guo)戲曲(qu)史(shi)上顯示出耀眼光芒(mang)和四射(she)魅力(li)，它(ta)的(de)繼續存在(zai)仍有(you)不可(ke)替代的(de)作用和重要價值。歸納主要有(you)三：

一(yi)、學(xue)術研(yan)究(jiu)價值。“宜黃腔”、宜黃戲的形成、發展、演(yan)(yan)變和(he)興衰過程已成為中國戲曲史的一(yi)個縮影(ying)。對(dui)于探(tan)索研(yan)究(jiu)，戲曲演(yan)(yan)變規律是(shi)理想的標本。

二、獨特的(de)(de)藝(yi)(yi)術(shu)價值。古(gu)老(lao)的(de)(de)宜(yi)黃戲經幾百年歷史長河沖涮和錘煉(lian)精華積增，藝(yi)(yi)技雙(shuang)高、獨特的(de)(de)“宜(yi)黃腔”永葆當年的(de)(de)美妙，更顯古(gu)色古(gu)香(xiang)楚(chu)楚(chu)動人(ren)。積存的(de)(de)三百多個優(you)秀劇目(mu)，已成(cheng)中國戲曲寶庫中的(de)(de)珍品、上品。

三、演出(chu)欣賞價值。幾百(bai)年來(lai)宜黃戲(xi)以其鮮明的(de)(de)表演風格、優(you)美的(de)(de)聲(sheng)腔和人(ren)人(ren)愛聽能懂的(de)(de)語(yu)言(yan)及不(bu)斷更新的(de)(de)劇(ju)目(mu)活躍在省內外各地的(de)(de)舞臺，受(shou)到廣大(da)觀眾和戲(xi)迷(mi)的(de)(de)喜愛。時(shi)至(zhi)今日，仍然(ran)魅力(li)不(bu)減、隨著旅游文化(hua)的(de)(de)發展，越來(lai)越多(duo)(duo)的(de)(de)新觀眾加入進來(lai)，他(ta)（她(ta)）們翹首以待，宜黃戲(xi)在更多(duo)(duo)的(de)(de)舞臺上再放(fang)光彩。

經專(zhuan)家研究(jiu)，二簧(huang)實源于宜(yi)(yi)黃腔(qiang)，宜(yi)(yi)黃戲(xi)(xi)(xi)(xi)由此在(zai)中(zhong)國(guo)(guo)戲(xi)(xi)(xi)(xi)曲(qu)(qu)(qu)史(shi)上占(zhan)有(you)(you)了突出的(de)(de)(de)(de)地位(wei)，它的(de)(de)(de)(de)形成(cheng)、發展、衰(shuai)落過(guo)程已(yi)成(cheng)為戲(xi)(xi)(xi)(xi)曲(qu)(qu)(qu)史(shi)的(de)(de)(de)(de)一(yi)(yi)個(ge)(ge)縮影，因(yin)此宜(yi)(yi)黃戲(xi)(xi)(xi)(xi)正是探索(suo)研究(jiu)戲(xi)(xi)(xi)(xi)曲(qu)(qu)(qu)衍變規律(lv)的(de)(de)(de)(de)理想標本。已(yi)知(zhi)的(de)(de)(de)(de)宜(yi)(yi)黃戲(xi)(xi)(xi)(xi)早期(qi)劇目中(zhong)專(zhuan)唱宜(yi)(yi)黃腔(qiang)的(de)(de)(de)(de)有(you)(you)58種(zhong)，這使(shi)得(de)宜(yi)(yi)黃戲(xi)(xi)(xi)(xi)成(cheng)為全(quan)國(guo)(guo)保留(liu)二簧(huang)腔(qiang)最多的(de)(de)(de)(de)一(yi)(yi)個(ge)(ge)劇種(zhong)。在(zai)當今社會(hui)，宜(yi)(yi)黃戲(xi)(xi)(xi)(xi)的(de)(de)(de)(de)生存(cun)、發展面臨著重重危(wei)機(ji)，有(you)(you)必(bi)要從調撥(bo)資金、加強宣傳、培養(yang)后繼力量等方(fang)面入手，使(shi)這個(ge)(ge)古老的(de)(de)(de)(de)劇種(zhong)獲(huo)得(de)一(yi)(yi)個(ge)(ge)合(he)適(shi)的(de)(de)(de)(de)生存(cun)環境，長(chang)留(liu)于世。