1、碗碗腔(孝義碗碗腔),編號:Ⅳ-49
(1)批次/類型:2006年(第一批),新增項目
(2)申報地區或單位:山西省孝義市
(3)保護單位:孝義市碗碗腔劇團演出有限公司
2、碗碗腔(曲沃碗碗腔),編號:Ⅳ-49
(1)批次/類型:2011年(第三批),擴展項目
(2)申報地區或單位:山西省曲沃縣
(3)保護單位:曲沃縣晉韻碗碗腔演藝有限責任公司
3、碗碗腔(渭南碗碗腔),編號:Ⅳ-49
(1)批次/類型:2021年(第五批),擴展項目
(2)申報地(di)區或單位(wei):陜西省渭南市臨渭區
碗(wan)(wan)碗(wan)(wan)腔(華(hua)劇),源于(yu)民間說(shuo)唱藝術,是(shi)陜西(xi)省地(di)方戲(xi)曲劇種(zhong)之一,是(shi)以碗(wan)(wan)碗(wan)(wan)、月琴(qin)為主,并(bing)配以二弦(xian)、胡琴(qin)、邊鼓(gu)、梆于(yu)、馬鑼和(he)嗩吶等,特別是(shi)因敲擊碗(wan)(wan)碗(wan)(wan)確(que)定樂(le)曲的輕(qing)重(zhong)緩急(ji),故而稱其為 “碗(wan)(wan)碗(wan)(wan)腔”;碗(wan)(wan)碗(wan)(wan)腔在形成(cheng)過程中(zhong)吸收老腔的藝術成(cheng)分較多,為與老腔相區別,它(ta)又被關中(zhong)東府人稱為“時腔”。
1958年,陜西(xi)省戲曲研究院進(jin)京匯(hui)報演(yan)出,周恩來等領(ling)導對民樂伴奏十分欣賞,還(huan)跟(gen)李瑞(rui)芳學唱(chang)了(le)“九道彎”的唱(chang)腔(qiang),李瑞(rui)芳給(gei)(gei)總理介紹到(dao)這是(shi)陜西(xi)地方曲種碗碗腔(qiang)發源于西(xi)岳(yue)華山麓下華陰、華縣一代,周總理聽后覺(jue)得曲調(diao)很好聽,就是(shi)名字(zi)有些繞口,于是(shi)給(gei)(gei)碗碗腔(qiang)定名為“華劇(ju)”蘊含中(zhong)華之意。但在(zai)民間人們一般(ban)還(huan)稱“碗碗腔(qiang)”。
碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)的(de)形(xing)成年代無準確的(de)文字記載可(ke)考,只能根據(ju)一些年代久遠(yuan)的(de)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)唱詞劇本來(lai)調查分(fen)析。清乾(qian)隆(long)初年,西安有碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)班(ban)社(she)的(de)演出(chu);演出(chu)以皮(pi)影(ying)形(xing)式出(chu)現,比較簡單(dan)。相(xiang)傳洋縣碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(漢中(zhong)一帶)在乾(qian)隆(long)時期由洋縣萬家(jia)宮(gong)藝人(ren)雍朝杰所創。雍原為皮(pi)影(ying)桄桄戲(xi)藝人(ren),赴渭北演出(chu)中(zhong),在朝邑(今大荔)學(xue)得碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)后,與桄桄唱腔(qiang)(qiang)(qiang)結合,后其子(zi)雍可(ke)敬(貓(mao)娃(wa))與徒(tu)弟福娃(wa)又吸收了道情(qing)唱腔(qiang)(qiang)(qiang),逐漸形(xing)成別具一格的(de)皮(pi)影(ying)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(qiang)。
清乾隆(long)年間(1736-1795)根據現有(you)(you)史料查證,當時碗(wan)碗(wan)腔相(xiang)當流(liu)行(xing),各(ge)種唱板已相(xiang)當齊備,且產生了(le)有(you)(you)名的(de)劇作(zuo)(zuo)家李十(shi)三,及(ji)其作(zuo)(zuo)品“十(shi)大本”。說明碗(wan)腕腔的(de)產生、形成(cheng)和(he)發展,至少經歷了(le)三百(bai)年以上的(de)歷史。就渭南人李芳桂的(de)“十(shi)大本”中的(de)唱詞結構分(fen)析,可斷(duan)定當時碗(wan)碗(wan)腔的(de)主(zhu)要(yao)(yao)唱腔已經形成(cheng)。其主(zhu)要(yao)(yao)分(fen)布(bu)于陜西大荔(同(tong)州)、朝邑、蒲(pu)城、渭南、臨潼(tong)、華陰、華縣、富平(ping)、韓(han)城等地區。
道光、咸豐年間(1821-1861)已(yi)發展(zhan)(zhan)為(wei)十余箱班,西(xi)府(fu)鳳翔(xiang)(xiang)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)有(you)早于東府(fu)(同(tong)州)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)之說,清中(zhong)葉后(hou)盛行,流行于鳳翔(xiang)(xiang)、千陽一帶(dai)。此(ci)外,陜(shan)北的(de)(de)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)自成一格,在綏德義(yi)合鎮(zhen)形成,流行于綏德、米脂一帶(dai),唱(chang)腔(qiang)(qiang)上受晉(jin)劇影響較大。皮影戲時期(qi),在陜(shan)西(xi)發展(zhan)(zhan)為(wei):東路(lu),以(yi)舊同(tong)州府(fu)為(wei)中(zhong)心(xin),也(ye)叫(jiao)(jiao)東府(fu)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(渭南);西(xi)路(lu),以(yi)鳳翔(xiang)(xiang)府(fu)為(wei)中(zhong)心(xin),也(ye)叫(jiao)(jiao)西(xi)府(fu)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(寶雞(ji));以(yi)洋縣為(wei)中(zhong)心(xin)的(de)(de)陜(shan)南碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)(漢中(zhong))與東路(lu)有(you)一定的(de)(de)淵源關(guan)系(xi)。
光(guang)緒(xu)(xu)三年(1877)前后(hou),大荔一(yi)(yi)(yi)帶(dai)藝人(ren)因荒災,逃荒入(ru)(ru)(ru)山(shan)西(xi),碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)傳(chuan)入(ru)(ru)(ru)山(shan)西(xi)汾(fen)(fen)陽、曲(qu)(qu)(qu)沃(wo)(wo)(wo)、新絳及汾(fen)(fen)陽、孝(xiao)義(yi)一(yi)(yi)(yi)帶(dai),遂形(xing)成(cheng)山(shan)西(xi)的(de)(de)(de)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)。據(ju)孝(xiao)義(yi)皮影(ying)藝人(ren)相傳(chuan),山(shan)西(xi)的(de)(de)(de)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)分為(wei)(wei)兩(liang)路(lu),一(yi)(yi)(yi)路(lu)流(liu)行(xing)于(yu)晉(jin)南曲(qu)(qu)(qu)沃(wo)(wo)(wo)、新絳一(yi)(yi)(yi)帶(dai),一(yi)(yi)(yi)路(lu)流(liu)行(xing)于(yu)晉(jin)中(zhong)汾(fen)(fen)陽、孝(xiao)義(yi)一(yi)(yi)(yi)帶(dai)。各路(lu)在(zai)發(fa)展過程中(zhong),由于(yu)受不(bu)(bu)同地區(qu)語言(yan)、民間音樂和劇種的(de)(de)(de)影(ying)響,在(zai)劇目、音樂、唱(chang)腔(qiang)(qiang)(qiang)(qiang)、樂器等(deng)方面也逐漸各具(ju)特(te)點,自成(cheng)體系(xi),已成(cheng)為(wei)(wei)當地的(de)(de)(de)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)皮影(ying)劇種。其中(zhong)傳(chuan)入(ru)(ru)(ru)汾(fen)(fen)陽、孝(xiao)義(yi)的(de)(de)(de)一(yi)(yi)(yi)支,受中(zhong)路(lu)梆子(zi)和汾(fen)(fen)孝(xiao)秧歌的(de)(de)(de)影(ying)響而形(xing)成(cheng)孝(xiao)義(yi)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)。另(ling)外,曲(qu)(qu)(qu)沃(wo)(wo)(wo)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)原系(xi)陜西(xi)東(dong)部(bu)華陰、大荔一(yi)(yi)(yi)帶(dai)皮影(ying)戲(xi)(xi)(xi)的(de)(de)(de)唱(chang)腔(qiang)(qiang)(qiang)(qiang)。老藝人(ren)認為(wei)(wei)曲(qu)(qu)(qu)沃(wo)(wo)(wo)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)是由陜西(xi)經商的(de)(de)(de)商人(ren)引(yin)入(ru)(ru)(ru)而來,由于(yu)歷史上秦晉(jin)交(jiao)好,經濟、文化互相交(jiao)流(liu)的(de)(de)(de)佳(jia)話(hua)大量見諸史書,通過商人(ren)引(yin)入(ru)(ru)(ru)這種藝術(shu)形(xing)式的(de)(de)(de)說法是有根據(ju)的(de)(de)(de)。引(yin)入(ru)(ru)(ru)后(hou),當地人(ren)喜(xi)歡并效仿,遂得(de)以流(liu)傳(chuan)。剛開始的(de)(de)(de)時候,僅在(zai)鄉村的(de)(de)(de)土(tu)臺、門庭(ting)、街口臨時搭臺演出,因其形(xing)式活潑,曲(qu)(qu)(qu)調動聽,班社(she)小,要價低,很(hen)受歡迎。光(guang)緒(xu)(xu)中(zhong)期,兌鎮后(hou)莊的(de)(de)(de)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)皮影(ying)藝人(ren)劉夠清(qing),曾兩(liang)次赴陜學習紗窗皮影(ying)的(de)(de)(de)雕刻藝術(shu),當地不(bu)(bu)少青(qing)年人(ren)加入(ru)(ru)(ru)影(ying)戲(xi)(xi)(xi)班,職業(ye)和半職業(ye)性質的(de)(de)(de)戲(xi)(xi)(xi)班逐年遞增,并吸收(shou)了木偶戲(xi)(xi)(xi)和晉(jin)劇、蒲劇的(de)(de)(de)一(yi)(yi)(yi)些劇目。至光(guang)緒(xu)(xu)末期,孝(xiao)義(yi)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)的(de)(de)(de)影(ying)戲(xi)(xi)(xi)班子(zi)已達(da)六七十(shi)個,演出遍布全(quan)晉(jin),還遠達(da)寧夏、遼寧等(deng)地。
辛亥革命前后(hou)又有發展,取代了皮影桄桄戲,其(qi)流(liu)行地區主要在洋(yang)縣東鄉;同(tong)州、朝邑(yi)兩地有50多個(ge)班社。
民(min)國(guo)初年,曲沃碗(wan)碗(wan)腔進入興盛期,出現很(hen)多(duo)班社(she),主要(yao)有(you)陳小班、大(da)富班、保(bao)子班等,形成(cheng)了(le)不同的藝術流(liu)派。每年的元宵節(jie)和七月古廟會在縣(xian)城競相開(kai)臺。上演(yan)劇(ju)(ju)目的內容以神話戲(xi)和武(wu)打(da)戲(xi)為主,也有(you)一部分是專(zhuan)供(gong)紅白(bai)喜事和還愿的演(yan)出劇(ju)(ju)目。演(yan)出的范(fan)圍(wei)擴大(da)到了(le)解州、絳州等周邊地域。
建(jian)(jian)國(guo)前(qian),陜(shan)(shan)西(xi)(xi)(xi)(xi)的(de)各(ge)支皮(pi)影(ying)碗碗腔先后(hou)(hou)衰落。西(xi)(xi)(xi)(xi)府碗碗腔大致在20世(shi)紀30年代已告絕跡,其余也(ye)在建(jian)(jian)國(guo)前(qian)夕消失(shi)。建(jian)(jian)國(guo)后(hou)(hou),經有關部門的(de)挖掘、搶(qiang)救,各(ge)支碗碗腔先后(hou)(hou)發展為(wei)戲曲(qu)劇(ju)種(zhong)。其東(dong)府、西(xi)(xi)(xi)(xi)府兩支于建(jian)(jian)國(guo)初期由陜(shan)(shan)西(xi)(xi)(xi)(xi)省戲曲(qu)劇(ju)院搬上戲曲(qu)舞臺,繼而洋(yang)縣人民(min)劇(ju)團將洋(yang)縣碗碗腔發展為(wei)戲曲(qu)形式(shi)。主(zhu)要盛行于陜(shan)(shan)西(xi)(xi)(xi)(xi)大荔、朝邑、渭南、西(xi)(xi)(xi)(xi)安、戶(hu)縣、綏德、米脂(zhi)、洋(yang)縣、西(xi)(xi)(xi)(xi)鄉等地(di)(di)。山西(xi)(xi)(xi)(xi)晉(jin)南及晉(jin)中的(de)孝(xiao)義,河南西(xi)(xi)(xi)(xi)部的(de)靈寶、陜(shan)(shan)縣、盧氏,甘肅(su)的(de)蘭州(zhou)等地(di)(di)也(ye)有流行。
1949年(nian)(nian)以后(hou),曲(qu)沃(wo)縣正式成(cheng)(cheng)立了(le)(le)(le)(le)(le)專業劇(ju)團,并廣泛(fan)吸收(shou)蒲州梆子、 晉南(nan)眉(mei)(mei)戶的(de)(de)腔(qiang)(qiang)(qiang)調、曲(qu)牌,成(cheng)(cheng)為具(ju)有(you)當地特色(se)的(de)(de)劇(ju)種;1950年(nian)(nian)代,初,有(you)了(le)(le)(le)(le)(le)女演(yan)(yan)(yan)(yan)員(yuan),打破了(le)(le)(le)(le)(le)只有(you)一(yi)(yi)(yi)個男(nan)演(yan)(yan)(yan)(yan)員(yuan)“保本”(集生(sheng)、旦(dan)、凈(jing)、末(mo)、丑(chou)于一(yi)(yi)(yi)身)的(de)(de)單調演(yan)(yan)(yan)(yan)唱(chang)(chang),豐(feng)富了(le)(le)(le)(le)(le)演(yan)(yan)(yan)(yan)唱(chang)(chang)色(se)彩(cai),使唱(chang)(chang)腔(qiang)(qiang)(qiang)更加悅(yue)耳動聽;1952年(nian)(nian),第(di)一(yi)(yi)(yi)屆全(quan)國(guo)戲(xi)(xi)曲(qu)觀摩演(yan)(yan)(yan)(yan)出大(da)會后(hou),陜(shan)西(xi)(xi)(xi)省各地皮(pi)影(ying)(ying)(ying)班社有(you)了(le)(le)(le)(le)(le)很(hen)大(da)改進,有(you)的(de)(de)采用了(le)(le)(le)(le)(le)電(dian)燈照亮,刻制了(le)(le)(le)(le)(le)適應現實(shi)生(sheng)活的(de)(de)景物,增加了(le)(le)(le)(le)(le)樂(le)(le)隊演(yan)(yan)(yan)(yan)唱(chang)(chang)人(ren)員(yuan),演(yan)(yan)(yan)(yan)出了(le)(le)(le)(le)(le)現代戲(xi)(xi),這(zhe)是碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)發展史上的(de)(de)一(yi)(yi)(yi)大(da)進步;1955年(nian)(nian),陜(shan)西(xi)(xi)(xi)省戲(xi)(xi)曲(qu)研究院(yuan)眉(mei)(mei)碗(wan)(wan)(wan)(wan)(wan)團成(cheng)(cheng)立,使碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)藝術面貌一(yi)(yi)(yi)新;1956年(nian)(nian),陜(shan)西(xi)(xi)(xi)省戲(xi)(xi)曲(qu)研究院(yuan)眉(mei)(mei)碗(wan)(wan)(wan)(wan)(wan)團的(de)(de)《金(jin)琬(wan)釵(chai)》中一(yi)(yi)(yi)折(zhe)《借(jie)水贈釵(chai)》首(shou)次(ci)在西(xi)(xi)(xi)安大(da)型舞臺(tai)(tai)(tai)上演(yan)(yan)(yan)(yan)獲得成(cheng)(cheng)功;1958年(nian)(nian),孝義市組建碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)劇(ju)團,開始由皮(pi)影(ying)(ying)(ying)戲(xi)(xi)走上真人(ren)舞臺(tai)(tai)(tai);同年(nian)(nian),陜(shan)西(xi)(xi)(xi)省戲(xi)(xi)曲(qu)研究院(yuan)眉(mei)(mei)碗(wan)(wan)(wan)(wan)(wan)團赴北(bei)京(jing)匯報演(yan)(yan)(yan)(yan)出獲得國(guo)家領導人(ren)的(de)(de)親(qin)切接見(jian);1959年(nian)(nian),《金(jin)琬(wan)釵(chai)》赴大(da)江南(nan)北(bei)13省(市)巡(xun)回演(yan)(yan)(yan)(yan)出;1960年(nian)(nian),陜(shan)北(bei)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)也(ye)改為舞臺(tai)(tai)(tai)劇(ju)。各支碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)均整(zheng)理、改編(bian)了(le)(le)(le)(le)(le)一(yi)(yi)(yi)批(pi)劇(ju)目,并在音樂(le)(le)唱(chang)(chang)腔(qiang)(qiang)(qiang)、表(biao)演(yan)(yan)(yan)(yan)藝術、舞臺(tai)(tai)(tai)美術等方面進行了(le)(le)(le)(le)(le)改革和創造;1960年(nian)(nian)3月,成(cheng)(cheng)立了(le)(le)(le)(le)(le)曲(qu)沃(wo)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)藝術學校,招收(shou)表(biao)演(yan)(yan)(yan)(yan)、音樂(le)(le)、舞美三個班,79名(ming)學生(sheng);之后(hou)演(yan)(yan)(yan)(yan)出折(zhe)子戲(xi)(xi)《花園(yuan)贈金(jin)》;成(cheng)(cheng)立曲(qu)沃(wo)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)劇(ju)團,從此,皮(pi)影(ying)(ying)(ying)由真人(ren)代替;1964年(nian)(nian),陜(shan)西(xi)(xi)(xi)戲(xi)(xi)曲(qu)研究院(yuan)眉(mei)(mei)碗(wan)(wan)(wan)(wan)(wan)團排(pai)演(yan)(yan)(yan)(yan)《江姐(jie)》;1973年(nian)(nian),排(pai)演(yan)(yan)(yan)(yan)《紅(hong)色(se)娘子軍》、《蘆蕩火種》等現代戲(xi)(xi),進一(yi)(yi)(yi)步擴大(da)了(le)(le)(le)(le)(le)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔(qiang)(qiang)(qiang)的(de)(de)影(ying)(ying)(ying)響(xiang);1977年(nian)(nian),為紀(ji)念毛主席(xi)逝(shi)世一(yi)(yi)(yi)周年(nian)(nian),陜(shan)西(xi)(xi)(xi)省戲(xi)(xi)曲(qu)研究院(yuan)排(pai)演(yan)(yan)(yan)(yan)了(le)(le)(le)(le)(le)張曉斌移植的(de)(de)新編(bian)華劇(ju)《蝶戀花》。
1986年(nian),陜西省(sheng)(sheng)戲(xi)(xi)曲(qu)研(yan)究(jiu)院華劇(ju)(ju)團團長(chang)李(li)瑞芳排演(yan)(yan)了新(xin)編(bian)華劇(ju)(ju) 《楊貴(gui)妃》,她創(chuang)造性地(di)將傳統戲(xi)(xi)曲(qu)與(yu)現代音(yin)樂劇(ju)(ju)熔(rong)于一爐,以新(xin)穎的(de)(de)表(biao)現手法,使該劇(ju)(ju)體現出令人蕩氣(qi)回(hui)腸的(de)(de)藝術(shu)美感(gan)。在(zai)首屆陜西省(sheng)(sheng)藝術(shu)節中獲(huo)(huo)一等獎(jiang)(jiang),在(zai)中國藝術(shu)節西北薈萃(cui)獲(huo)(huo)金獎(jiang)(jiang),獲(huo)(huo)陜西戲(xi)(xi)曲(qu)保(bao)留演(yan)(yan)出劇(ju)(ju)目;1987年(nian),《楊貴(gui)妃》劇(ju)(ju)組赴(fu)(fu)香港“中國地(di)方戲(xi)(xi)曲(qu)展”引起反響,首次(ci)將華劇(ju)(ju)推向國際舞臺(tai),港報贊譽“楊貴(gui)妃優美提(ti)神(shen),李(li)瑞芳一枝獨(du)秀(xiu)”;1989年(nian),排演(yan)(yan)新(xin)編(bian)華劇(ju)(ju)《法門軼事》,獲(huo)(huo)陜西省(sheng)(sheng)第二屆藝術(shu)節銀牌獎(jiang)(jiang);1992年(nian),陜西省(sheng)(sheng)戲(xi)(xi)曲(qu)研(yan)究(jiu)院眉碗團排演(yan)(yan)芬蘭(lan)音(yin)樂劇(ju)(ju)移(yi)植改編(bian)的(de)(de)《真(zhen)的(de)(de)·真(zhen)的(de)(de)》,由(you)李(li)瑞芳與(yu)李(li)東橋主演(yan)(yan)獲(huo)(huo)得成功,首映式(shi)芬蘭(lan)各大(da)報刊都(dou)作了報道,同年(nian),參加中國戲(xi)(xi)曲(qu)“金三角”交流演(yan)(yan)出,獲(huo)(huo)優劇(ju)(ju)目秀(xiu)獎(jiang)(jiang);1993年(nian),《真(zhen)的(de)(de)·真(zhen)的(de)(de)》參加中國戲(xi)(xi)曲(qu)(南方片(pian))交流演(yan)(yan)出,獲(huo)(huo)優秀(xiu)表(biao)演(yan)(yan)獎(jiang)(jiang);1994年(nian),新(xin)編(bian)大(da)型歷史劇(ju)(ju)《真(zhen)的(de)(de)·真(zhen)的(de)(de)》應邀赴(fu)(fu)芬蘭(lan)演(yan)(yan)出;
2003年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲(xi)曲(qu)研究(jiu)院眉碗(wan)團(tuan)劇(ju)(ju)(ju)目(mu)《金(jin)琬(wan)(wan)釵》已(yi)在中(zhong)(zhong)央電視臺播出(chu)(chu)(chu);2004年(nian)(nian)(nian),《金(jin)琬(wan)(wan)釵》獲(huo)陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)優秀(xiu)(xiu)(xiu)劇(ju)(ju)(ju)目(mu)展(zhan)演(yan)優秀(xiu)(xiu)(xiu)配器獎(jiang);2005年(nian)(nian)(nian),《金(jin)琬(wan)(wan)釵》獲(huo)第四屆陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)藝(yi)術節(jie)優秀(xiu)(xiu)(xiu)劇(ju)(ju)(ju)目(mu)獎(jiang);2006年(nian)(nian)(nian)5月(yue)20日,碗(wan)碗(wan)腔經國務院批準列(lie)入第一批國家(jia)級(ji)非物質文化(hua)(hua)遺產名錄;2007年(nian)(nian)(nian),任小蕾出(chu)(chu)(chu)演(yan)的(de)碗(wan)碗(wan)腔折子戲(xi)《桃園(yuan)借(jie)水》在中(zhong)(zhong)央電視臺播出(chu)(chu)(chu);2008年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲(xi)曲(qu)研究(jiu)院優秀(xiu)(xiu)(xiu)戲(xi)曲(qu)演(yan)員胡萍出(chu)(chu)(chu)演(yan)了(le)(le)新(xin)編歷史劇(ju)(ju)(ju)《楊貴(gui)(gui)妃》中(zhong)(zhong)一折重場戲(xi)《貴(gui)(gui)妃醉酒》;同(tong)年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)委、省(sheng)(sheng)政府投(tou)入巨資精(jing)心打造了(le)(le)一臺以盛唐文化(hua)(hua)為主題(ti),承了(le)(le)唐宮(gong)廷舞(wu)高麗樂(le)(le)、吸收了(le)(le)陜(shan)(shan)西(xi)(xi)碗(wan)碗(wan)腔的(de)中(zhong)(zhong)國首(shou)部大(da)型(xing)實景歷史舞(wu)劇(ju)(ju)(ju)《長恨(hen)歌》在西(xi)(xi)安臨潼華(hua)清(qing)池(chi)上演(yan);2009年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲(xi)曲(qu)研究(jiu)院眉碗(wan)團(tuan)重新(xin)排練《金(jin)琬(wan)(wan)釵》,保留了(le)(le)原作精(jing)華(hua),音(yin)(yin)樂(le)(le)上吸取了(le)(le)眉戶、蒲劇(ju)(ju)(ju)等姊妹(mei)劇(ju)(ju)(ju)種(zhong)的(de)旋(xuan)律,采取了(le)(le)歌劇(ju)(ju)(ju)創作中(zhong)(zhong)主題(ti)音(yin)(yin)樂(le)(le)貫穿(chuan)全劇(ju)(ju)(ju)的(de)方法,較大(da)程度地豐富了(le)(le)碗(wan)碗(wan)腔的(de)音(yin)(yin)樂(le)(le)表現。舞(wu)美上運用了(le)(le)現代科技手段,給人視角上的(de)沖擊(ji)與(yu)美感。導演(yan)手法與(yu)演(yan)員表演(yan)風格也在古典戲(xi)的(de)基礎上有了(le)(le)更深層次的(de)探索與(yu)突(tu)破(po)。全劇(ju)(ju)(ju)舞(wu)臺呈(cheng)現煥然一新(xin);同(tong)年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲(xi)曲(qu)研究(jiu)院青年(nian)(nian)(nian)團(tuan)也出(chu)(chu)(chu)演(yan)了(le)(le)多個(ge)碗(wan)碗(wan)腔劇(ju)(ju)(ju)目(mu),李君梅出(chu)(chu)(chu)演(yan)的(de)《葬花吟》、黨莉莉出(chu)(chu)(chu)演(yan)的(de)《楊貴(gui)(gui)妃》、任小蕾出(chu)(chu)(chu)演(yan)的(de)《借(jie)水》、張玉梅出(chu)(chu)(chu)演(yan)的(de)《跑山》、李娟出(chu)(chu)(chu)演(yan)的(de)《紅色娘子軍》和李梅出(chu)(chu)(chu)演(yan)的(de)《十八里相送》。
2010年,陜(shan)西(xi)省(sheng)戲(xi)(xi)(xi)曲研(yan)究院推出碗(wan)(wan)碗(wan)(wan)腔(qiang)折(zhe)子戲(xi)(xi)(xi)專場,力(li)爭(zheng)加入上海世(shi)(shi)博會,準(zhun)備(bei)通過世(shi)(shi)博會將陜(shan)西(xi)的(de)民(min)間藝術推向世(shi)(shi)界;2011年,曲沃碗(wan)(wan)碗(wan)(wan)腔(qiang)經國務(wu)院批準(zhun)列入第(di)三批國家級非物質文化遺(yi)產名錄(lu);2012年,陜(shan)西(xi)省(sheng)戲(xi)(xi)(xi)曲研(yan)究院招收第(di)十(shi)期演(yan)員訓練班;2013年,第(di)八個(ge)“中(zhong)國文化遺(yi)產日”,山(shan)西(xi)省(sheng)文化廳在太原市舉(ju)辦(ban)非物質文化遺(yi)產傳(chuan)統劇(ju)目展演(yan)活動,上演(yan)孝義碗(wan)(wan)碗(wan)(wan)腔(qiang)木偶(ou)神話劇(ju)《孫悟(wu)空三打白骨(gu)精》;孝義市碗(wan)(wan)碗(wan)(wan)腔(qiang)小(xiao)戲(xi)(xi)(xi)《影(ying)(ying)戲(xi)(xi)(xi)緣》獲得了第(di)十(shi)屆中(zhong)國藝術節(jie)(jie)“群星獎(jiang)”;2014年,首屆絲綢之路(lu)國際電影(ying)(ying)節(jie)(jie),一曲融入了陜(shan)西(xi)碗(wan)(wan)碗(wan)(wan)腔(qiang)旋律的(de)作品《絲路(lu)遐想》在陜(shan)西(xi)廣播電視民(min)族樂(le)團(tuan)《絲路(lu)長安》音樂(le)會中(zhong)上演(yan);2015年,陜(shan)西(xi)省(sheng)戲(xi)(xi)(xi)曲研(yan)究院排演(yan)了新編(bian)碗(wan)(wan)碗(wan)(wan)腔(qiang)歷(li)史劇(ju)《李十(shi)三》;2016年,山(shan)西(xi)省(sheng)曲沃縣碗(wan)(wan)碗(wan)(wan)腔(qiang)劇(ju)團(tuan)送戲(xi)(xi)(xi)下鄉,深(shen)入基層演(yan)出了傳(chuan)統劇(ju)目《恩仇記》、《五花馬》和具(ju)有教(jiao)育意義的(de)《春江月(yue)》;另(ling)外,山(shan)西(xi)臨汾(fen)“侯馬碗(wan)(wan)碗(wan)(wan)腔(qiang)皮影(ying)(ying)劇(ju)團(tuan)”在劉(liu)秀珍(zhen)團(tuan)長的(de)領(ling)導下,為(wei)非物質文化遺(yi)產碗(wan)(wan)碗(wan)(wan)腔(qiang)做傳(chuan)承努力(li),深(shen)入學(xue)校、街頭、公園、廣場,弘揚地方文化。
碗碗腔(華劇(ju))劇(ju)種行當齊全,俗稱四生六旦二(er)凈一丑(chou),即十(shi)三網子。包括了(le)劇(ju)種全部角(jiao)色(se)的(de)性別、年齡和各自不(bu)同(tong)的(de)性格特(te)點。概括起來則是:生、旦、凈、丑(chou),四大類。
生(sheng):生(sheng)角(jiao)是凈(jing)、丑以外(wai)男(nan)性角(jiao)色的統(tong)稱,按個(ge)性特征和表(biao)演特點(dian)劃分。
其中包括須(xu)生(sheng)(sheng)(sheng)(sheng)、正生(sheng)(sheng)(sheng)(sheng)、老生(sheng)(sheng)(sheng)(sheng)、紅(hong)生(sheng)(sheng)(sheng)(sheng)、馬褂生(sheng)(sheng)(sheng)(sheng)、鞭子生(sheng)(sheng)(sheng)(sheng)、衰敗(bai)須(xu)生(sheng)(sheng)(sheng)(sheng)、小生(sheng)(sheng)(sheng)(sheng)、文(wen)小生(sheng)(sheng)(sheng)(sheng)、武小生(sheng)(sheng)(sheng)(sheng)、文(wen)武小生(sheng)(sheng)(sheng)(sheng)、武生(sheng)(sheng)(sheng)(sheng)、貧生(sheng)(sheng)(sheng)(sheng)、娃娃生(sheng)(sheng)(sheng)(sheng)。
旦(dan)(dan)(dan):旦(dan)(dan)(dan)角是女性角色的統稱,按其年齡、身份、性格(ge)及表演特(te)點劃分。其中包括正(zheng)旦(dan)(dan)(dan)(青衣(yi)、花(hua)彩正(zheng)旦(dan)(dan)(dan)、刀子旦(dan)(dan)(dan))、小(xiao)旦(dan)(dan)(dan)(閨門(men)旦(dan)(dan)(dan))、花(hua)旦(dan)(dan)(dan)、老(lao)旦(dan)(dan)(dan)(富(fu)老(lao)旦(dan)(dan)(dan)、貧老(lao)旦(dan)(dan)(dan))、彩旦(dan)(dan)(dan)(丑旦(dan)(dan)(dan)、媒(mei)旦(dan)(dan)(dan))、武旦(dan)(dan)(dan)(刀馬旦(dan)(dan)(dan))。
凈(jing):凈(jing)角俗稱花臉(lian)、黑頭,以面部(bu)臉(lian)譜為主要特征,按其身份、性格(ge)及表(biao)演特點劃分。其中包括(kuo)大花臉(lian)(大凈(jing))、二(er)花臉(lian)(二(er)凈(jing)、毛凈(jing))。
丑(chou)(chou):丑(chou)(chou)角(jiao)亦稱三花(hua)臉,屬喜劇角(jiao)色,以面部臉譜為主要特征(zheng)(zheng),按其(qi)身份、性格及年齡(ling)特征(zheng)(zheng)劃分。其(qi)中(zhong)包括大丑(chou)(chou)、小丑(chou)(chou)、老丑(chou)(chou)、文丑(chou)(chou)、武丑(chou)(chou)。
碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)的(de)(de)(de)唱(chang)詞典(dian)雅,講求(qiu)聲(sheng)(sheng)(sheng)韻和諧;句(ju)了或長(chang)(chang)短不一(yi)(yi),或齊整(zheng) 劃一(yi)(yi),以(yi)上句(ju)押韻落板(ban)(ban)(ban),不同于(yu)其(qi)(qi)它劇種,建國(guo)前 藝人多(duo)(duo)是上門清唱(chang)。碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)在表演(yan)(yan)上主(zhu)要運用(yong)中國(guo)戲曲(qu)的(de)(de)(de)傳(chuan)統程(cheng)式,適(shi)當吸收皮影戲中人物的(de)(de)(de)表演(yan)(yan)動作。演(yan)(yan)唱(chang)時(shi),小(xiao)生(sheng)、小(xiao)旦、青衣吐字多(duo)(duo)用(yong)真(zhen)(zhen)聲(sheng)(sheng)(sheng),拖腔(qiang)(qiang)多(duo)(duo)用(yong)假聲(sheng)(sheng)(sheng),形(xing)成真(zhen)(zhen)假聲(sheng)(sheng)(sheng)結合使(shi)用(yong)的(de)(de)(de)特點。老(lao)生(sheng)、須生(sheng)、老(lao)旦、小(xiao)丑全用(yong)真(zhen)(zhen)聲(sheng)(sheng)(sheng);花(hua)臉多(duo)(duo)用(yong)喉音(yin)和腦后音(yin)。演(yan)(yan)出(chu)中并(bing)有(you)(you)重唱(chang)、齊唱(chang)、伴唱(chang)等(deng)形(xing)式。此外,還(huan)有(you)(you)一(yi)(yi)種用(yong)單句(ju)結尾的(de)(de)(de),即七字句(ju)上、下樂(le)句(ju)的(de)(de)(de)唱(chang)段,在結束時(shi)只唱(chang)一(yi)(yi)個上句(ju),曲(qu)調(diao)(diao)曼聲(sheng)(sheng)(sheng)而(er)(er)下,使(shi)人有(you)(you)詞意已盡而(er)(er)余韻猶(you)存的(de)(de)(de)感覺(jue),與一(yi)(yi)般戲曲(qu)唱(chang)腔(qiang)(qiang)的(de)(de)(de)“留板(ban)(ban)(ban)”不同,不用(yong)再接(jie)下句(ju)。東(dong)路碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)在藝術(shu)上比較成熟,影響(xiang)較大。它的(de)(de)(de)音(yin)樂(le)具有(you)(you)幽(you)雅、清新的(de)(de)(de)特色,其(qi)(qi)唱(chang)腔(qiang)(qiang)既有(you)(you)擅長(chang)(chang)表現歡樂(le)的(de)(de)(de)“歡音(yin)”,又有(you)(you)擅長(chang)(chang)表現悲傷的(de)(de)(de)“苦音(yin)”。主(zhu)要板(ban)(ban)(ban)路有(you)(you)慢(man)板(ban)(ban)(ban)、快三(san)眼、慢(man)緊板(ban)(ban)(ban)、緊板(ban)(ban)(ban)、滾板(ban)(ban)(ban)、揚句(ju)子(zi)、尖板(ban)(ban)(ban)、西廂(xiang)調(diao)(diao)、花(hua)花(hua)腔(qiang)(qiang)、疊腔(qiang)(qiang)等(deng)。
皮(pi)影碗碗腔(qiang)(qiang)階(jie)段,各支派(pai)均有(you)(you)不同特(te)點的(de)音(yin)樂唱(chang)腔(qiang)(qiang)。板(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)(you)侵板(ban)(ban)(ban)(ban)(ban)(ban)、尖板(ban)(ban)(ban)(ban)(ban)(ban)(墊(dian)扳)、二(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)、代板(ban)(ban)(ban)(ban)(ban)(ban)、飛板(ban)(ban)(ban)(ban)(ban)(ban)、喝場和(he)韻白等(deng),其(qi)慢(man)(man)板(ban)(ban)(ban)(ban)(ban)(ban)與(yu)東府相近,余均有(you)(you)差異。“西(xi)(xi)(xi)府碗碗腔(qiang)(qiang)”的(de)板(ban)(ban)(ban)(ban)(ban)(ban)式(shi)與(yu)秦腔(qiang)(qiang)相近,除滾板(ban)(ban)(ban)(ban)(ban)(ban)外,還(huan)(huan)有(you)(you)花(hua)音(yin)、苦音(yin)之別;“洋縣碗碗腔(qiang)(qiang)”唱(chang)腔(qiang)(qiang)以(yi)微(wei)調式(shi)為多,板(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)(you)安(an)板(ban)(ban)(ban)(ban)(ban)(ban)、添板(ban)(ban)(ban)(ban)(ban)(ban)、二(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)、代板(ban)(ban)(ban)(ban)(ban)(ban)、快板(ban)(ban)(ban)(ban)(ban)(ban)、急板(ban)(ban)(ban)(ban)(ban)(ban)、嘹子、滾板(ban)(ban)(ban)(ban)(ban)(ban)等(deng);“陜北碗碗腔(qiang)(qiang)”唱(chang)腔(qiang)(qiang)風格近似晉劇,有(you)(you)慢(man)(man)扳、二(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)、流水、大起板(ban)(ban)(ban)(ban)(ban)(ban)、鈴子、導(dao)板(ban)(ban)(ban)(ban)(ban)(ban)、還(huan)(huan)陽板(ban)(ban)(ban)(ban)(ban)(ban)等(deng)。發展(zhan)為舞(wu)臺劇后,唱(chang)腔(qiang)(qiang)一般以(yi)板(ban)(ban)(ban)(ban)(ban)(ban)式(shi)唱(chang)腔(qiang)(qiang)為主,主要(yao)板(ban)(ban)(ban)(ban)(ban)(ban)路(lu)有(you)(you)慢(man)(man)板(ban)(ban)(ban)(ban)(ban)(ban)、快三眼、慢(man)(man)緊板(ban)(ban)(ban)(ban)(ban)(ban)、緊板(ban)(ban)(ban)(ban)(ban)(ban)、滾板(ban)(ban)(ban)(ban)(ban)(ban)、揚(yang)句子、尖板(ban)(ban)(ban)(ban)(ban)(ban)、西(xi)(xi)(xi)廂調、花(hua)花(hua)腔(qiang)(qiang)、疊腔(qiang)(qiang)等(deng);花(hua)腔(qiang)(qiang)和(he)疊腔(qiang)(qiang)這兩類腔(qiang)(qiang)系各有(you)(you)其(qi)不同的(de)音(yin)律、音(yin)階(jie)、調式(shi)和(he)表現功能(neng);一般說來,花(hua)音(yin)擅長表現歡快、明朗的(de)情調,哭(ku)音(yin)則主要(yao)表現悲(bei)傷、哀怨(yuan)的(de)情緒;慢(man)(man)板(ban)(ban)(ban)(ban)(ban)(ban)、緊板(ban)(ban)(ban)(ban)(ban)(ban)又(you)有(you)(you)俗稱三不齊(qi)(西(xi)(xi)(xi)廂調)的(de)特(te)殊唱(chang)法(fa)。
另外(wai),還(huan)有(you)一(yi)個山(shan)西(xi)省的分支孝義碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang),其主要有(you)兩(liang)種(zhong)(zhong)聲(sheng)腔(qiang)(qiang)(qiang),分別是皮腔(qiang)(qiang)(qiang)和碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang),均來自(zi)孝義皮影戲。皮腔(qiang)(qiang)(qiang)唱腔(qiang)(qiang)(qiang)有(you)兩(liang)種(zhong)(zhong)形態(tai),一(yi)種(zhong)(zhong)為四句(ju)體,另一(yi)種(zhong)(zhong)是可以(yi)多次反復的上下句(ju)唱腔(qiang)(qiang)(qiang)。碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)唱腔(qiang)(qiang)(qiang)的特(te)點是真假聲(sheng)混(hun)用(yong),多用(yong)虛詞假聲(sheng)腔(qiang)(qiang)(qiang),假聲(sheng)唱法分二音子(zi)和再翻(fan)高形成的尖音子(zi)。由此可見(jian)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)的聲(sheng)腔(qiang)(qiang)(qiang)體系是完整和豐(feng)富的。
戲劇(ju)服裝的(de)演變與發展,有(you)一個由簡到全的(de)過程。中(zhong)華人民共和國成立后,特別是在(zai)1960年代后,隨(sui)著劇(ju)目的(de)不(bu)斷(duan)繁榮(rong)發展,戲劇(ju)服裝更趨講(jiang)究(jiu)精美,豐富多彩(cai),并具有(you)粗獷(guang)大方(fang),色彩(cai)鮮艷,對比鮮明等特點。
戲曲服(fu)裝分為(wei)古代(dai)戲服(fu)裝和現代(dai)戲服(fu)裝,至于清(qing)(qing)代(dai)的(de)服(fu)裝則有(you)(you)專門的(de)清(qing)(qing)裝,如(ru)箭(jian)衣(yi)、馬褂、大(da)帽、長辮、靴(xue)子等;還(huan)有(you)(you)一些(xie)特(te)定職業的(de)古裝戲服(fu),如(ru)素(su)道袍、箭(jian)衣(yi)、官衣(yi)、水(shui)袖等;同時,為(wei)了更符合舞臺藝術的(de)需要,傳統(tong)戲除蟒、靠、校衛衣(yi)外,生、旦角服(fu)裝全部用(yong)反面緞材料(liao);還(huan)有(you)(you)梅蘭芳大(da)師所要求(qiu)的(de)“三白一展(zhan)”(即領子白、水(shui)袖白、靴(xue)底白,衣(yi)服(fu)平(ping)展(zhan))。服(fu)裝按劇情需要分門別類,形成服(fu)裝分箱口(kou):大(da)衣(yi)箱、二衣(yi)箱、三衣(yi)箱、頭帽等。
秦腔(qiang)、眉(mei)戶、碗碗腔(qiang)、同(tong)(tong)州梆子、京劇等戲(xi)曲劇種的人(ren)物妝容大同(tong)(tong)小異。傳(chuan)統戲(xi)有(you)固定的臉(lian)譜(pu),生(sheng)、旦(dan)為俊扮(ban)(ban),凈、丑為粉扮(ban)(ban)。新編古代戲(xi)多(duo)按人(ren)物臉(lian)譜(pu)結合人(ren)物性(xing)格(ge)加(jia)以改(gai)革(ge)。現代戲(xi)則根據人(ren)物的年(nian)齡、性(xing)格(ge)、身份,在演員自(zi)然形(xing)象的基(ji)礎上,采用生(sheng)活化(hua)的化(hua)妝,并加(jia)以美(mei)化(hua)夸張。
建國后,鉛(qian)粉、干(gan)紅灒(zan)水、干(gan)墨灒(zan)水等(deng)水彩化妝(zhuang)(zhuang)被(bei)油彩妝(zhuang)(zhuang)代(dai)替,當時的特點(dian)(dian)是濃、重、厚。但這在(zai)化妝(zhuang)(zhuang)品和化妝(zhuang)(zhuang)技(ji)術上(shang)有(you)很大革(ge)新,同時,在(zai)保留傳統臉(lian)譜特點(dian)(dian)的基(ji)礎(chu)上(shang)吸收了(le)京劇臉(lian)譜的特長,在(zai)體現人物(wu)性(xing)格特點(dian)(dian)和化妝(zhuang)(zhuang)技(ji)巧及審(shen)美上(shang)有(you)了(le)很大改進。在(zai)丑角(jiao)(jiao)(jiao)的臉(lian)譜要求上(shang)也做了(le)妥善規范,如武丑在(zai)眉、鼻、眼(yan)中間畫倒(dao)三(san)角(jiao)(jiao)(jiao)白眼(yan)窩(wo);方(fang)巾丑畫成方(fang)形白眼(yan)窩(wo),再加上(shang)眼(yan)角(jiao)(jiao)(jiao)的魚(yu)尾紋。旦角(jiao)(jiao)(jiao),基(ji)本上(shang)采(cai)用包大頭(tou)、花(hua)鬢、劉海齊用,頭(tou)面裝飾(shi),釵環,戴花(hua)除使(shi)人物(wu)造型美外(wai),主(zhu)要根據人物(wu)身份而(er)定(ding)。如傳統戲《金琬(wan)釵》中旦角(jiao)(jiao)(jiao)的頭(tou)飾(shi),鮮(xian)艷、粉淡各有(you)不同。
在皮影時期(qi),代表樂(le)器主要(yao)有(you)(you)弦(xian)(xian)(xian)樂(le)器有(you)(you)月(yue)(yue)(yue)琴(qin)(qin)(qin)、硬弦(xian)(xian)(xian)(二(er)股(gu)(gu)弦(xian)(xian)(xian))、板(ban)胡(hu),管樂(le)器有(you)(you)嗩吶(na)、馬號(hao)(喇叭),打擊樂(le)器有(you)(you)梆子、銅(tong)碗(wan)(wan)(wan)(wan)、邊鼓、堂鼓、鐃(nao)鈸、鉸子、手鑼(luo)(luo)、大(da)鑼(luo)(luo)(勾鑼(luo)(luo))等;演(yan)唱(chang)時,由月(yue)(yue)(yue)琴(qin)(qin)(qin)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)領(ling)奏,硬弦(xian)(xian)(xian)、板(ban)胡(hu)伴隨。碰盅(zhong)銅(tong)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)、截子、月(yue)(yue)(yue)琴(qin)(qin)(qin)、胡(hu)呼、二(er)股(gu)(gu)弦(xian)(xian)(xian),專司(si)樂(le)器的(de)(de)三、五人,無(wu)文(wen)武(wu)場之分,但主兼何種樂(le)器也(ye)有(you)(you)明確分工。發展成舞臺戲曲劇種后,文(wen)武(wu)場分開,加進了笛子、揚(yang)琴(qin)(qin)(qin)、三弦(xian)(xian)(xian)兒、提琴(qin)(qin)(qin)之類。但是富有(you)(you)特(te)(te)色的(de)(de)幾種代表性樂(le)器所發出(chu)的(de)(de)音(yin)(yin)(yin)響并沒有(you)(you)被淹沒。用于擊拍的(de)(de)小(xiao)銅(tong)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)和檀木截子格(ge)外清脆悅耳,中(zhong)音(yin)(yin)(yin)硬弦(xian)(xian)(xian)胡(hu)呼,音(yin)(yin)(yin)響洪(hong)亮,使(shi)整(zheng)個音(yin)(yin)(yin)樂(le)剛柔相濟。月(yue)(yue)(yue)琴(qin)(qin)(qin)的(de)(de)琴(qin)(qin)(qin)箱呈六(liu)角形(xing),上(shang)覆桐木板(ban),琴(qin)(qin)(qin)脖無(wu)品,以牛(niu)筋為弦(xian)(xian)(xian),彈撥出(chu)的(de)(de)音(yin)(yin)(yin)明朗而渾厚有(you)(you)力(li)。二(er)股(gu)(gu)弦(xian)(xian)(xian)是碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)中(zhong)的(de)(de)高音(yin)(yin)(yin)樂(le)器,它(ta)的(de)(de)竹(zhu)質琴(qin)(qin)(qin)筒較一般二(er)胡(hu)粗(cu)長(chang),琴(qin)(qin)(qin)桿粗(cu)而短,音(yin)(yin)(yin)色輕柔悠長(chang)雅(ya)致。伴奏中(zhong)月(yue)(yue)(yue)琴(qin)(qin)(qin)、胡(hu)呼、二(er)股(gu)(gu)弦(xian)(xian)(xian)有(you)(you)其(qi)特(te)(te)殊的(de)(de)揉、滑技(ji)法(fa),反復演(yan)奏出(chu)唱(chang)腔(qiang)(qiang)中(zhong)的(de)(de)特(te)(te)色旋律,效果甚佳,構成碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)音(yin)(yin)(yin)樂(le)中(zhong)的(de)(de)獨特(te)(te)風格(ge)。演(yan)奏中(zhong)還有(you)(you)許多上(shang)滑、下滑的(de)(de)技(ji)法(fa),使(shi)音(yin)(yin)(yin)樂(le)更加委婉動聽。
碗碗腔搬(ban)上(shang)大(da)(da)舞臺后,樂(le)(le)(le)(le)隊(dui)的(de)(de)體制有(you)了(le)(le)很大(da)(da)的(de)(de)變化:1956年(nian)至(zhi)(zhi)1966年(nian),在傳統(tong)樂(le)(le)(le)(le)隊(dui)基礎上(shang),加進了(le)(le)二胡(hu)、揚(yang)琴(qin)(qin)(qin)(qin)、洞簫、笛子、琵(pi)琶、雙(shuang)簧管(guan)、大(da)(da)提(ti)(ti)琴(qin)(qin)(qin)(qin)、三(san)角鐵(tie)等中(zhong)(zhong)西(xi)(xi)(xi)樂(le)(le)(le)(le)器(qi)(qi)(qi),組成(cheng)為(wei)(wei)已民為(wei)(wei)主、西(xi)(xi)(xi)樂(le)(le)(le)(le)為(wei)(wei)輔的(de)(de)小(xiao)型中(zhong)(zhong)西(xi)(xi)(xi)混(hun)合樂(le)(le)(le)(le)隊(dui);1972年(nian)至(zhi)(zhi)1982年(nian),在上(shang)述樂(le)(le)(le)(le)隊(dui)的(de)(de)基礎上(shang)又(you)曾添了(le)(le)小(xiao)提(ti)(ti)琴(qin)(qin)(qin)(qin)、中(zhong)(zhong)提(ti)(ti)琴(qin)(qin)(qin)(qin)、低(di)音(yin)(yin)提(ti)(ti)琴(qin)(qin)(qin)(qin),全部木管(guan)和(he)銅管(guan)樂(le)(le)(le)(le)器(qi)(qi)(qi)以及排(pai)笙(sheng)、定音(yin)(yin)鼓(gu)、吊釵(chai)、小(xiao)軍鼓(gu)等大(da)(da)量(liang)西(xi)(xi)(xi)洋(yang)樂(le)(le)(le)(le)器(qi)(qi)(qi),編制由(you)十(shi)多(duo)人提(ti)(ti)升到三(san)十(shi)多(duo)人,成(cheng)為(wei)(wei)了(le)(le)一個中(zhong)(zhong)型的(de)(de)中(zhong)(zhong)西(xi)(xi)(xi)混(hun)合樂(le)(le)(le)(le)隊(dui),并(bing)設專(zhuan)職(zhi)指揮;1983年(nian)后,改為(wei)(wei)以民樂(le)(le)(le)(le)為(wei)(wei)主并(bing)吸收(shou)少(shao)量(liang)西(xi)(xi)(xi)洋(yang)樂(le)(le)(le)(le)器(qi)(qi)(qi)的(de)(de)中(zhong)(zhong)型混(hun)合樂(le)(le)(le)(le)隊(dui),減掉了(le)(le)大(da)(da)部分的(de)(de)西(xi)(xi)(xi)洋(yang)樂(le)(le)(le)(le)器(qi)(qi)(qi)只保留了(le)(le)大(da)(da)提(ti)(ti)琴(qin)(qin)(qin)(qin)、低(di)音(yin)(yin)提(ti)(ti)琴(qin)(qin)(qin)(qin)、定音(yin)(yin)鼓(gu)、吊釵(chai)、三(san)角鐵(tie)等少(shao)量(liang)樂(le)(le)(le)(le)器(qi)(qi)(qi),同時又(you)曾添了(le)(le)古箏(zheng)、鋁(lv)板琴(qin)(qin)(qin)(qin)、電子琴(qin)(qin)(qin)(qin)、笙(sheng)、排(pai)鼓(gu)、柳琴(qin)(qin)(qin)(qin)、阮等中(zhong)(zhong)西(xi)(xi)(xi)樂(le)(le)(le)(le)器(qi)(qi)(qi),編制人數減至(zhi)(zhi)二十(shi)多(duo)人。
分弦索曲(qu)(qu)(qu)牌,總(zong)數(shu)約八十(shi)余首,節奏分為散、慢、中、快四種類型,音樂(le)結構分為只(zhi)曲(qu)(qu)(qu)反復與多曲(qu)(qu)(qu)聯(lian)套兩種形(xing)態。其來源一部分曲(qu)(qu)(qu)子(zi)民間小(xiao)曲(qu)(qu)(qu)和吹鼓(gu)樂(le):一部分則是從(cong)秦腔(qiang)、同州梆(bang)子(zi)及(ji)眉(mei)戶(hu)等姊妹藝術中吸收衍化而來,特別(bie)是嗩吶曲(qu)(qu)(qu)牌、多數(shu)與秦腔(qiang)近(jin)(jin)似或相同,但較(jiao)秦腔(qiang)原始。弦索曲(qu)(qu)(qu)牌則與眉(mei)戶(hu)比較(jiao)接近(jin)(jin)。搬上大舞臺后,對傳統曲(qu)(qu)(qu)牌進行了革新(xin),同時(shi),也(ye)創作了一定數(shu)量的配樂(le),豐富了劇種音樂(le)的表現力。另外,還有一定數(shu)量的曲(qu)(qu)(qu)牌、板式和鑼鼓(gu)音樂(le)。如:殺(sha)妲己(ji)、梵王宮(gong)、重(zhong)臺、江怨、石榴、新(xin)春令、十(shi)樣景等。
碗(wan)碗(wan)腔(qiang)的音(yin)樂(le)(le)特色(se)是細膩 、幽雅、耐人聽聞;不但有獨特、悠(you)揚、清(qing)麗的樂(le)(le)曲,而且(qie)有抒情、優美(mei)、感人的唱腔(qiang);能(neng)表(biao)達生、旦、凈、丑各個行當(dang)和(he)各種(zhong)不同(tong)人物的復雜感情。碗(wan)碗(wan)腔(qiang)音(yin)樂(le)(le)在(zai)發(fa)展(zhan)過程(cheng)中,除吸收當(dang)地民間音(yin)樂(le)(le),小調(diao)和(he)說唱音(yin)樂(le)(le)外,又受秦(qin)腔(qiang)、同(tong)州梆(bang)子、眉戶(hu)和(he)蒲州梆(bang)子等(deng)劇種(zhong)的影響較大(da)(da),其弦索曲牌(pai)多數與眉戶(hu)相同(tong)或近(jin)似,嗩吶曲牌(pai)則與秦(qin)腔(qiang)、同(tong)州梆(bang)子大(da)(da)同(tong)小異。1972年起,采用了和(he)聲、復調(diao)、配器等(deng)新的作曲技法,豐富(fu)了色(se)彩、增強了厚度(du)、擴(kuo)大(da)(da)了表(biao)現力,使伴奏藝(yi)術有了新的發(fa)展(zhan)。
曲(qu)(qu)沃(wo)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)屬板腔(qiang)(qiang)(qiang)音(yin)樂(le)(le),上(shang)、下(xia)句(ju)(ju)行腔(qiang)(qiang)(qiang)唱(chang)詞以七字(zi)句(ju)(ju)、十字(zi)句(ju)(ju)居多。它(ta)的(de)(de)唱(chang)腔(qiang)(qiang)(qiang)和過(guo)門穩定,其(qi)調(diao)式為(wei)徵(zhi)調(diao)式。起初板式單調(diao),唱(chang)腔(qiang)(qiang)(qiang)貧乏,在(zai)其(qi)發展過(guo)程中(zhong)廣(guang)泛吸(xi)收了(le)民(min)間(jian)音(yin)樂(le)(le)的(de)(de)養料和蒲劇、眉戶等劇種的(de)(de)曲(qu)(qu)調(diao),結合當(dang)地(di)的(de)(de)語調(diao)特(te)(te)點,形成具有獨特(te)(te)風格的(de)(de)唱(chang)腔(qiang)(qiang)(qiang)。它(ta)的(de)(de)音(yin)樂(le)(le)唱(chang)腔(qiang)(qiang)(qiang)悠雅婉轉、纏綿抒(shu)情,甚為(wei)群眾所喜聞樂(le)(le)唱(chang)。碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)獨具風格之處(chu)還(huan)在(zai)于它(ta)的(de)(de)一些唱(chang)腔(qiang)(qiang)(qiang),末尾的(de)(de)假嗓拖音(yin)中(zhong)多出現七度(du)跳(tiao)升(sheng),雖翻高七度(du),卻(que)異常的(de)(de)圓潤(run)和諧,毫無(wu)生硬(ying)突兀之感。曲(qu)(qu)沃(wo)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)的(de)(de)基(ji)本(ben)板式有慢板、二八、流水、介板等。還(huan)吸(xi)收融匯了(le)其(qi)他劇種的(de)(de)曲(qu)(qu)牌。它(ta)的(de)(de)音(yin)樂(le)(le)雖多方(fang)吸(xi)收,但多而不(bu)雜(za),總是在(zai)發揮自己(ji)的(de)(de)特(te)(te)點基(ji)礎上(shang)化而用之,始終未失去其(qi)聲腔(qiang)(qiang)(qiang)特(te)(te)色,保持(chi)了(le)自己(ji)的(de)(de)風格。
陜西東(dong)路碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔皮影(ying)(ying)戲,在大量吸收蒲劇(ju)等劇(ju)種(zhong)的(de)舞臺(tai)表(biao)(biao)演(yan)技(ji)藝(yi)(yi)的(de)同時,還繼承和(he)發展(zhan)了皮影(ying)(ying)藝(yi)(yi)術中“皮人”的(de)表(biao)(biao)演(yan)風格(ge),特別是(shi)女演(yan)員(yuan)模(mo)擬“皮人”圖(tu)案(an)、動(dong)(dong)畫的(de)動(dong)(dong)作,頗為(wei)群(qun)眾(zhong)所(suo)喜愛。這些(xie)卡通動(dong)(dong)作結合劇(ju)本內容配(pei)上(shang)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔的(de)特殊音(yin)樂,抒發歡快、輕(qing)佻、憤恨等各(ge)種(zhong)感(gan)情非(fei)常協調,使劇(ju)詞、音(yin)樂、表(biao)(biao)演(yan)融(rong)為(wei)一體。所(suo)以(yi)人們風趣的(de)稱這種(zhong)表(biao)(biao)演(yan)為(wei)“活皮影(ying)(ying)”,這是(shi)人們對戲曲舞臺(tai)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔藝(yi)(yi)術風格(ge)和(he)表(biao)(biao)演(yan)特色的(de)一種(zhong)形象比喻。每個形態(tai)各(ge)異的(de)皮影(ying)(ying),都共有精(jing)巧細(xi)致,形體玲(ling)瓏,圖(tu)案(an)花紋優雅的(de)特性,帶有濃郁的(de)民族文化(hua)內涵和(he)地域氣息(xi),表(biao)(biao)達(da)出中國傳統(tong)民間(jian)藝(yi)(yi)術深厚(hou)的(de)歷(li)史(shi)底(di)蘊。帶給觀眾(zhong)的(de)是(shi)聽(ting)覺與視覺上(shang)合二為(wei)一的(de)藝(yi)(yi)術享受。
登臺后(hou)的(de)碗(wan)碗(wan)腔(qiang)(qiang)雖然吸收了(le)其他劇種的(de)一(yi)些藝術形式,但將皮影戲的(de)動作保留在舞臺上,如旦(dan)角(jiao)抒(shu)發(fa)情懷時,一(yi)手指(zhi)(zhi)前,一(yi)手指(zhi)(zhi)后(hou),身(shen)體小幅度前仰后(hou)顛;生角(jiao)走臺步時,兩(liang)臂微屈,寬袖(xiu)前后(hou)擺動,側身(shen)緩(huan)緩(huan)而行(xing);在武打(da)方面更是保留了(le)皮影遺風。另外,碗(wan)碗(wan)腔(qiang)(qiang)搬上大舞臺后(hou)融入了(le)很多傳統戲曲特技,如吹火、水袖(xiu)功(gong)、扇(shan)子功(gong)、手絹功(gong)等(deng)。
碗(wan)碗(wan)腔(qiang)產生(sheng)和形成年代,據(ju)史料和老藝人追憶大(da)約(yue)產生(sheng)在(zai)清乾隆年間(1736-1795),并產生(sheng)了(le)著名戲曲家(jia)李芳桂及(ji)其作品八(ba)本(ben)(ben)兩(liang)折,稱為“十(shi)大(da)本(ben)(ben)”,總觀十(shi)大(da)本(ben)(ben)唱(chang)詞結構,遠在(zai)作者所(suo)處的年代,碗(wan)碗(wan)腔(qiang)主(zhu)要(yao)唱(chang)板就已形成。
碗(wan)(wan)碗(wan)(wan)腔過(guo)去一(yi)(yi)直是(shi)皮(pi)影演唱,在陜西(xi)以同、朝(chao)為中(zhong)心。民間流傳有(you)“華州的(de)(de)迷胡(hu),合陽(yang)的(de)(de)線,同、朝(chao)的(de)(de)燈(deng)影天下傳”之說(shuo)。據(ju)《重修華縣縣志稿》記載:“時(shi)腔,即碗(wan)(wan)碗(wan)(wan)腔,來自同、朝(chao)一(yi)(yi)帶”,稱(cheng)為東路碗(wan)(wan)碗(wan)(wan)腔,流布(bu)于關中(zhong)東府一(yi)(yi)帶;嘉慶(qing)、道(dao)光時(shi)期,同、朝(chao)著(zhu)名(ming)(ming)班(ban)(ban)(ban)社布(bu):李(li)(li)家(jia)班(ban)(ban)(ban)、齊家(jia)班(ban)(ban)(ban)、王(wang)家(jia)班(ban)(ban)(ban)、參子(zi)班(ban)(ban)(ban)、祥盛班(ban)(ban)(ban)等;碗(wan)(wan)碗(wan)(wan)腔皮(pi)影戲的(de)(de)藝(yi)人(ren)極多,清(qing)末出名(ming)(ming)的(de)(de)“簽手(shou)”有(you):七喜(xi)、王(wang)蔓(man)、參苗子(zi)、一(yi)(yi)桿旗、歪脖(bo)子(zi);民國以來在大荔(li)韋林一(yi)(yi)方有(you)李(li)(li)家(jia)三代,即桃(tao)核(人(ren)俗稱(cheng)桃(tao)胡(hu))、李(li)(li)義(yi)瑞、李(li)(li)存才(cai);沙(sha)底一(yi)(yi)方有(you):張禮常、雷文(wen)立、劉黑娃、王(wang)善(shan)子(zi)、王(wang)風堂;大荔(li)一(yi)(yi)方有(you):王(wang)四貴、金奎、王(wang)牛(niu);名(ming)(ming)樂師有(you)瞎燈(deng)、張水龍、西(xi)番、柴(chai)緒好(hao)、張志英、喬玉山(shan)等;名(ming)(ming)“簽手(shou)”有(you)金保、有(you)才(cai)、更新、黨振海、根聲(sheng)、京(jing)娃等。
陜西省戲(xi)(xi)曲(qu)(qu)研究院在建國初(chu)期的老一輩戲(xi)(xi)曲(qu)(qu)藝術家李(li)瑞芳、吳德(de)(de)、寇治(zhi)德(de)(de)、馬友仙、焦瑞霞、苗德(de)(de)發、段林菊(ju)、郝彩鳳、雷開(kai)元(yuan)等(deng),都(dou)對陜西戲(xi)(xi)曲(qu)(qu)做出(chu)(chu)了卓越的貢獻,更(geng)培養出(chu)(chu)了很多優秀的地方戲(xi)(xi)曲(qu)(qu)演(yan)員,如(ru):李(li)梅(mei)、李(li)東(dong)橋、李(li)娟、張(zhang)新尚、任小蕾、李(li)君梅(mei)、任美玉等(deng);振興地方戲(xi)(xi)曲(qu)(qu)發展更(geng)離不開(kai)這些幕后藝術家的付出(chu)(chu),著名劇作家黃(huang)(huang)俊耀、朱學、張(zhang)曉(xiao)斌、陳彥等(deng);著名戲(xi)(xi)曲(qu)(qu)編曲(qu)(qu)、演(yan)奏(zou)家黃(huang)(huang)育英、趙(zhao)季平(ping)、石仲(zhong)柯、薛天信、張(zhang)德(de)(de)寧、王激(ji)等(deng)。
據傳(chuan),清末光(guang)緒初(chu)年(nian),陜西(xi)朝邑(今大(da)荔)一(yi)帶,連(lian)年(nian)大(da)旱,寸草不生。
當地(di)碗(wan)(wan)碗(wan)(wan)腔(qiang)藝人(ren)因逃荒而(er)流(liu)落山西,后(hou)分為南北兩(liang)支,其赴(fu)北的(de)一(yi)支,在孝義、汾(fen)陽(yang)一(yi)帶,受中路梆子(zi)和(he)孝義皮腔(qiang)、汾(fen)陽(yang)地(di)秧歌等影(ying)響(xiang),逐步形成(cheng)孝義碗(wan)(wan)碗(wan)(wan)腔(qiang)。據老藝人(ren)回(hui)憶,約光緒中期,兌鎮后(hou)莊的(de)碗(wan)(wan)碗(wan)(wan)腔(qiang)皮影(ying)藝人(ren)劉(liu)夠清,曾兩(liang)次赴(fu)陜(shan)學習紗窗(chuang)皮影(ying)的(de)雕刻藝術,當地(di)不少青年人(ren)加入影(ying)戲班(ban),職業(ye)和(he)半職業(ye)性質的(de)戲班(ban)逐年遞增,并(bing)吸(xi)收了木偶戲和(he)晉(jin)劇(ju)、蒲(pu)劇(ju)的(de)一(yi)些劇(ju)目。至光緒末(mo)期,孝義碗(wan)(wan)碗(wan)(wan)腔(qiang)的(de)影(ying)戲班(ban)子(zi)已達六七十個,演出遍布(bu)全晉(jin),還(huan)遠達寧夏、遼(liao)寧等地(di),并(bing)涌現出一(yi)批(pi)著名藝人(ren):王(wang)寶(bao)棟(dong)(扦工精熟,操技(ji)藏神(shen));張立廣(guang)(鋼音鐵嗓,月迷星驚);井潤元(專說(shuo)閨門戲,人(ren)稱“小姐班(ban)”);李(li)付德(de)(擅唱喜鬧劇(ju),譽為“哈(ha)哈(ha)班(ban)”);此外,還(huan)有(you)張萬年、于吉榮、宋(song)廣(guang)德(de)、耿付有(you)等一(yi)大(da)批(pi)青年藝人(ren),操說(shuo)各有(you)千秋,譽滿汾(fen)陽(yang)、平遙、介休、孝義、祁(qi)縣、太谷(gu)等地(di)。
第一批國(guo)家級非(fei)物質文化遺產(chan)孝義碗碗腔的傳承人:田(tian)學思、張建琴。
碗(wan)碗(wan)腔(qiang)傳入曲(qu)(qu)沃(wo)(wo)之年(nian)代尚不久遠,已故(gu)84歲的(de)老藝人“巴字(zi)茂”生(sheng)前(qian)曾多次講過他(ta)赴陜(shan)西學習皮(pi)(pi)影戲的(de)經(jing)過,而(er)且曲(qu)(qu)沃(wo)(wo)的(de)碗(wan)碗(wan)腔(qiang)和(he)陜(shan)西的(de)碗(wan)碗(wan)腔(qiang)在音(yin)樂唱腔(qiang)、樂器(qi)等方面有(you)(you)很(hen)多相同(tong)(tong)相近之處。曲(qu)(qu)沃(wo)(wo)碗(wan)碗(wan)吸收(shou)了(le)曲(qu)(qu)沃(wo)(wo)秧歌、曲(qu)(qu)沃(wo)(wo)地方戲曲(qu)(qu)蒲劇和(he)眉戶劇的(de)強調,吸收(shou)曲(qu)(qu)沃(wo)(wo)民(min)間音(yin)樂的(de)曲(qu)(qu)牌,同(tong)(tong)時吸收(shou)蒲劇、越劇、川劇、晉(jin)(jin)劇等劇種的(de)服(fu)飾、臉(lian)譜(pu)、舞臺美術(shu)(shu)(shu)、念白及表演(yan)(yan)方式,更將曲(qu)(qu)沃(wo)(wo)皮(pi)(pi)影的(de)表演(yan)(yan)風格保留(liu)下來。曲(qu)(qu)沃(wo)(wo)碗(wan)碗(wan)在晉(jin)(jin)南(nan)(nan)地區享有(you)(you)盛譽,被譽為“晉(jin)(jin)南(nan)(nan)第一(yi)腔(qiang)”,深受(shou)群眾的(de)喜愛。曲(qu)(qu)沃(wo)(wo)有(you)(you)三晉(jin)(jin)“小江(jiang)南(nan)(nan)”之稱,為這一(yi)藝術(shu)(shu)(shu)的(de)繁衍生(sheng)息(xi)提供了(le)有(you)(you)力支撐。經(jing)多年(nian)的(de)傳承發展,于清末民(min)國初年(nian)達到(dao)鼎(ding)盛。民(min)國初年(nian),出(chu)現很(hen)多班(ban)(ban)社,主要有(you)(you)陳小班(ban)(ban)、大富班(ban)(ban)、保子班(ban)(ban)等,形成了(le)不同(tong)(tong)的(de)藝術(shu)(shu)(shu)流派。
曲(qu)沃(wo)碗(wan)碗(wan)腔(qiang)(qiang)與孝義碗(wan)碗(wan)腔(qiang)(qiang)有(you)明顯區別。一是(shi)戲(xi)曲(qu)語言用(yong)了“蒲(pu)州(zhou)邦子”的(de)道白聲韻;二是(shi)傳承了碗(wan)碗(wan)腔(qiang)(qiang)的(de)“撩板(ban)”和“直桿二八(ba)”板(ban)式,按照行當及角(jiao)色的(de)情緒變化,使唱(chang)腔(qiang)(qiang)更加流暢,更加符(fu)合人物特(te)性;三是(shi)加入了“中音板(ban)胡(hu)”,打擊(ji)樂采(cai)用(yong)的(de)是(shi)小直徑馬鑼、蒲(pu)劇的(de)大(da)窩鐃鈸、曲(qu)沃(wo)秧(yang)歌中的(de)小鉸子;四是(shi)表演形(xing)態上更多的(de)追求皮影戲(xi)的(de)拙中之美(mei),既(ji)夸張又浪漫。
第五批國(guo)家級非物(wu)質文化(hua)遺產曲沃碗碗腔(qiang)傳承人:解紅(hong)旗。