地方戏曲

地方戏曲发表时间：2009-12-11 1:05:59 来源：admin 浏览：366次地方戏曲评剧：评剧是我国北方地区的一种地方戏，在华北、东北及其他一些地区流行很广，是广大人民喜闻乐见的剧种之一。

评剧原名“平腔梆子戏”，俗称“唐山落子”、“蹦蹦戏”，1910年左右形成于河北唐山一带。

1935年，蹦蹦戏在上海演出时，正式使用评剧名称。

评剧的男腔和女腔，是在莲花落、蹦蹦戏的音乐基础上，逐步吸收并借鉴梆子、京剧的唱法，经过单口对口莲花落、拆出莲花落、唐山落子等阶段而逐步形成的。

伴奏以胡胡(板胡)为主，打击乐器与京剧大体相同。

评剧女腔开初是由月明珠等人创造的，男腔是由倪俊生等人创造的。

在不长的历史里，评剧积累了众多雅俗共赏的经典剧目，如《杜十娘》、《玉堂春》、《人面桃花》、《花为媒》、《牧羊圈》、《打金枝》、《马寡妇开店》等。

越剧：越剧发源于浙江省嵊县一带(古越国所在地)的农村。

它是以民间说唱艺术“落地唱书”为基础，并在余姚鹦歌(秧歌)和湖州滩簧的影响下发展形成的。

1906年诞生，时称“小歌班”。

艺人基本上是半农半艺的男性农民，在农闲之际业余组合唱戏，后来逐渐组成职业“小歌班”，并于1916年进入上海，吸收绍剧、京剧所长，在茶楼以“绍兴文戏”之名演出，演员多以女艺人为主，有的戏班全由女演员组成。

1938年，绍兴文戏改称越剧。

越剧的舞台艺术富有秀丽的江南情调，布景清新雅致，表演真切细腻，曲调清悠婉转，长于抒情。

《梁山伯与祝英台》、《红楼梦》、《追鱼》、《碧玉簪》、《情深》、《柳毅传书》、《祥林嫂》、《西厢记》、《琵琶记》、《孔雀东南飞》等都是众所熟知的优秀剧目。

著名演员有袁雪芬、傅全香、戚雅仙、范瑞娟、徐玉兰、尹桂芳、王文娟、张桂凤、茅威涛等。

豫剧：豫剧原称“河南梆子”、“河南高调”，因为河南省简称“豫”，解放后定名为豫剧。

是河南省的主要剧种之一。

豫剧音乐分4个流派：以开封为中心的唱法称“祥福调”；以商邱为中心的唱法称“豫东调”，又称东路调；以洛阳为中心流传的唱法称为“豫西调”，又称西府调、靠山簧；豫东南沙河流域流传的唱法称“沙河调”，又称本地梆。

豫剧音乐丰富多彩，唱腔属板腔体。

唱词通俗易懂，节奏鲜明，吐字清晰，行腔酣畅。

表演风格朴实，乡土气息浓厚，深受观众欢迎。

豫剧传统剧目约有647出，比较有代表性的是《对花枪》、《三上轿》、《地塘板》、《提寇》、《铡美案》、《十二寡妇征西》等。

豫剧的行当和班社，俗话说：“四生四旦四花脸，八个场面(即一鼓二锣仨弦手，梆子手镲共八口)俩箱倌”。

正因为是男八女四的行当，把四生四花脸叫做外八角，以男角为主的戏叫做“外八角戏”。

豫剧历史上有名的演员，须生有张小乾、张同庆、澎海豹、许树云，名小生有黄儒秀(黄娃、黄马褂)、王金玉(筱火鞭)等。

自从出现女演员后，著名的演员有王玉枝、陈素真、常香玉、崔兰田等。

解放后的著名演员有魏云、王善朴、高洁、陈新理、马琳、柳兰芳等。

黄梅戏：黄梅戏原名“黄梅调”或“采茶戏”，是18世纪后期在皖、鄂、赣3省毗邻地区以黄梅采茶调为主的民间歌舞基础上发展而成的一种小戏。

其中一支逐渐东移到以安徽怀宁县为中心的安庆地区，与当地民间艺术相结合，用当地语言歌唱、说白，形成了自己的特点，被称为“怀腔”或“怀调”。

这就是黄梅戏的前身。

黄梅戏旋律轻快优美，唱腔委婉清新，表演细腻动人，颇受全国观众欢迎。

在剧目方面，号称“大戏三十六本，小戏七十二折”。

大戏主要表现的是当时人民对阶级压迫、贫富悬殊的现实不满和对自由美好生活的向往。

如《荞麦记》、《告粮官》、《天仙配》等。

小戏大都表现的是农村劳动者的生活片段，如《点大麦》、《纺棉纱》、《卖斗箩》。

严凤英、王少舫、吴琼、马兰是黄梅戏的著名演员。

河北梆子：河北梆子是河北省的主要地方剧种，是梆子声腔的一个重要支脉，是“山陕梆子”传入河北之后与当地原有剧种——京腔(河北高腔)相结合而形成的。

它诞生于河北农村并流布河北全省，其兴盛时，不仅盛行于北京、上海、天津等大城市，而且遍及山东、东北等地的中、小城市及农村，是流行地域广泛、影响较大的剧种。

河北梆子剧目分传统戏剧目与时装戏剧目两大类。

传统戏剧目约550多个，有《杨家将》、《庆顶珠》、《宝莲灯》、《铡美案》、《教学》等。

时装戏剧目150多个，流传至今的代表性剧目有《蝴蝶杯》、《秦香莲》、《南北合》、《春秋配》、《斩子》等。

河北梆子剧本词句通俗易懂，多为河北地方口语，富有浓厚的河北乡土气味。

河北梆子唱腔分有生、旦、净、丑四行，唱腔高亢激越，伴奏铿锵有力。

此外，河北梆子在剧目、唱腔、伴奏等方面曾给北路梆子、老调梆子、评剧以一定影响。

吕剧：吕剧是山东省主要地方戏曲剧种，过去曾叫“化妆扬琴”或“扬琴戏”，是由民间说唱艺术“山东扬琴”(又称“山东洋琴”)演变而来。

1900年，由广饶县谭家村扬琴艺人时殿元、谭秉伦、崔兴乐等组成的扬琴班，最先把《王小赶脚》的扬琴脚本改为化妆演出的脚本，并进行化妆演出的试验，深受群众欢迎。

艺人们为了把这种演出形式和坐唱扬琴相区别，称之为“化妆扬琴”。

由于第一个“化妆扬琴”剧目的表演有驴形，且当时的“化妆扬琴”又常用毛驴驮着包括驴形的头部和身子在内的道具，于是人们就把“化妆扬琴”称作“驴戏”。

“化妆扬琴”在不同地区有不同称谓。

在济南称“扬琴戏”，在鲁西南称“上妆扬琴”，在临邑、济阳一带称“迷戏”，在胶东称“蹦蹦戏”，在博兴被称作“闾戏”，也有称“缕戏”的。

后来由于过去唱扬琴的多由“两口子”(即夫妇俩)或一家人搭班，演唱的节目内容又多是关于公子投亲、小姐赠金、夫妻团圆等两口子的故事，两个“口”字成“吕”字，因此称吕剧。

另一种说法是，吕字系“驴”、“闾”、“缕”的谐音字，故在用文字标明剧种时，写作吕剧。

吕剧的传统剧目大体可分两种：一种是小戏和单出戏，如《小姑贤》、《小借年》、《王定保借当》等，这是它的基本戏；另一种是连台本戏，如《金鞭记》、《金镯玉环记》、《五女兴唐》等。

吕剧现代戏《李二嫂改嫁》首拍成电影，影响遍及全国。

川剧：川剧是由高腔、昆腔、胡琴腔、弹腔等四大声腔加一种本省民间灯戏组成，是四川、云南、贵州等西南几省人民喜闻乐见的民族民间艺术。

川剧在长期的发展过程中，由于各种声腔流行地区不同，艺众的师承关系不同，大约在清同治和光绪年间，逐渐形成了一些流派，主要按河道(即流行地区)分为川西派、资阳河派、川北派、川东派4派。

川剧的行当划分极为严格，总的方面分生、旦、净、末、丑、杂六大类。

川剧的剧目十分丰富，有“唐三千，宋八百，数不完的三列国”之说。

川戏锣鼓是川剧音乐的重要组成部分，其使用乐器共有20多种，常用的有小鼓、堂鼓、大锣、大钹、小锣(兼铰子)，统称为“五方”，加上弦乐、唢呐为六方，由小鼓指挥。

锣鼓曲牌有300支左右。

川剧表演具有深厚的现实主义传统，表演真实细腻，幽默生动，生活气息浓郁。

它运用大量的艺术夸张手法，特别善于采用托举、开慧眼、变脸、钻火圈、藏刀等特技来刻画人物性格，使整个舞台多彩神秘又富于变化。

所谓“装龙像龙，装虎像虎”，这句形容和要求川剧表演的话，在川剧演员中代代相传。

Local OperasPingju (Ping Opera)Ping Opera is very popular in North and Northeast China and other areas as well. It is one of the well-liked local operas in these areas. Ping Opera was formerly called Pingqiang Bangzi Opera, and popularly known as Bengbeng Opera. It came into being in Tangshan area, Heibei Province around 1910. The name Ping Opera was first used in 1935 when it was staged in Shanghai.Developing out of Bengbeng Opera, it borrowed its tunes, male and female, from Hebei Bangzi Opera and Beijing Opera. The chief musical instrument is huhu or banhu fiddle, a bowed two-stringed instrument with a thin wooden soundboard, and percussion instruments are more or less the same as those of Beijing Opera. The female tune in Ping Opera was created by Yue Mingzhu et al. and the male tune by Ni Junsheng et al. Over not so long a period of time, there appeared many well-known Ping Opera pieces such as Du Shiniang, Spring in the Jade Hall, Peach-Blossom-Like Face, Flowers as the Keepsake, Sheepwalk, Boxing the Princess’ Ear, Ma, the Widow, Runs a Shop, etc.Yueju (Yue Opera)Yue Opera originated in Shengxian County, Zhejiang Province, which used to be the territory of the Kingdom of Yue. It developed out of Luodi Changshu, a genre of popular entertainment consisting mainly of talking and singing, and was greatly influenced by Yingge or Yangko of Yuyao and Tanhuang of Huzhou. It came into being in 1906 and was called xiao ge ban (Small Singing Group) then. The playerswere basically male farmers who were fond of operas. In the slack farming season, the farmer would gather together to act in an opera. Gradually a professional group known as xiao ge ban was established. It came to Shanghai in 1916, and absorbed the best of both Shaoju and Beijing Opera, and was staged in the teahouses by the name of Shaoxing Civil Opera. The players were mostly female, and in some troupes all the players were female. In 1938, it was renamed Yue Opera.The stage art of Yue Opera is reminiscent of the Southern sentiment, its props fresh and refined, its performance exquisite, and its music elegant and melodious. Representative pieces of Yue Opera include Butterfly Lovers, Dream of A Red Chamber, Chasing the Fish, Jade Hairpin, Deep Love, Liuyi, the Messenger, Mrs. Xiang Lin, A Story of the Western Chamber, The Pipa Story, Peacocks Flying to the South. And well-known players are Yuan Xuefen, Fu Quanxiang, Qi Yaxian, Fan Ruijuan, Xu Yulan, Yin Guifang, Wang Wenjuan, Zhang Guifeng, Mao Weitao, etc. Yuju (Yu Opera)Yu Opera was formerly known as Henan Bangzi (Henan Wooden Clapper Opera) and Henan Gaodiao (Henan Lofty Tune). As Yu is short for Henan Province, hence its present name Yu Opera after the founding of the People’s Republic of China. It is one of the major operas in Henan Province.The music of Yu Opera falls into four types: xiangfu tune, an aria prevalent in and around Kaifeng, Yudong tune (East Henan tune), in and around Shangqiu, yuxi tune (or xifu tune, kaoshan tune) (West Henan tune), in and around Luoyang, and Shahe tune (or bendi bang), along the Shahe River Valley in the east of Henan Province. The music is varied and colorful, and the aria is that of banqiang (wooden clapper tune) style. The lyrics are simple and easy to understand, and the rhythm is strongly accented. The words are clearly articulated. The style of performance is simple and plain, with a strong rustic flavor, which is well received by the audience. There are altogether 647 traditional Yu Opera pieces, of which Fighting with Short Spears, Suicide in the Sedan, Di Tang Ban, Delivering Kou Zun, Consort on Trial, Twelve Widows on a Punitive Expedition to the West are the most famous ones.There are altogether twelve types of roles and eight kinds of musical instruments in Yu Opera. The former is composed of eight male and four female roles, of which the four sheng (male) and four dan (female) are collectively known as wai ba jiao, meaning the play is dominated by male roles. Famous Yu Opera players are Zhang Xiaoqian, Zhang Tongqing, Peng Haibao, Xu Shuyun, all of whom are known as xue sheng (man with whiskers), and Huang Ruxiu (better known as Huang, the Babe, Huang, the Mandarin Jacket), Wang Jinyu (or Xiao Huobian), both of whom are called xiao sheng (young male). With the appearance of female roles come famous players like Wang Yuzhi, Chen Suzhen, Chang Xiangyu, and Cui Lantian.Well-known players after 1949 include Wei Yun, Wang Shanpu, Gao Jie, Chen Xinli, Ma Lin and Liu Lanfang. The instruments are made up of one drum, two gongs, three three-stringed plucked instruments, one wooden clapper, and one small cymbal. Huangmei OperaHuangmei Opera, formerly known as Huangmei tunes or tea-picking opera, was based on the folk songs and dances in the bordering area of Anhui, Hubei and Jiangxi provinces in late 18th century. The local songs were mostly tea-picking tunes widely spread in the area of Huangmei. Later, one group of people brought the opera to the Anqing area, Huaining County, Anhui Province, mingling it with the local folk art by using the local dialect and recitation, and developed its own characteristic features. It was later known as the Huai Tune, which is, in fact, the predecessor of thepresent-day Huangmei Opera. The tunes of Huangmei Opera maintain its flavor of folk songs, light and melodious, graceful and sweet-sounding. With an exquisite and touching performance, it is greatly appreciated by the audiences across the country. There are 72 short plays and 36 full-length dramas altogether. Full-length dramas reflect the people’s complaints about class oppression and the disparity between the rich and the poor and their wish for a better life. Famous plays include The Story of the Buckwheat, Lawsuit Against the Grain Official, Goddess’ Marriage, etc. And short plays, on the other hand, mirror, in nine cases out of ten, rural workers’ life episodes such as The Parley, Spinning Cotton, and Selling Wicker Baskets, to name afew. Well-known players include Yan Fengying, Wang Shaofang, Wu Qiong, Ma Lan, etc.Hebei Bangzi (Hebei Wooden Clapper Opera)Hebei Bangzi is one of the major forms of local opera in Hebei Province, and an important branch of Bangzi opera. Formerly known as Jing Bangzi, it was derived from Qinqiang and Shanxi Bangzi operas, which were introduced to Hebei Province in the middle of the Qing Dynasty. Originating from the countryside of Hebei Province, it was popular all over the province at its heyday, and was enjoyed in major cities like Beijing, Shanghai, and Tianjin, and small and medium-sized cities and rural areas in Shandong Province and North China. In short, it is a widely enjoyed and very influential type of opera.Hebei Bangzi is divided into two types: traditional operas and contemporary operas. The formers boasts 550 plays such as Generals of the Yang Family, Life of a Fisherman, Lotus Lamp, Chen, the Consort, on Tria l, and Teaching the Kid. In addition, there are more than 150 contemporary operas, whose representative pieces include Butterfly Cup, Qin Xianglian, North Meets South, Marriage of Spring and Autumn, and Killing the Son. The lyrics of Hebei Bangzi are simple and easy to understand, and most of them are written in the local dialect, with a strong rustic flavor. Moreover, Hebei Bangzi has influenced to some extent Beilu Bangzi, Laodiao Bangzi and Ping Opera in terms of repertoire, singing and musical accompaniment.Lüju (Shandong Opera)Lüju or Shandong Opera is one of the major local operas of Shandong Province. Formerly known as Huazhuang Yangqin or Yangqin (a Chinese hammered dulcimer with a trapezoidal soundboard), it developed from Shandong Yangqin, a folk art consisting mainly of talking and singing.In 1900, a troupe composed of Shi Dianyuan, Tan Binglun and Cui Xingle, yangqin players in Tanjia Village, Guangrao County, made the yangqin play, Wang Xiao Gan Jiao, into a huazhuang yangqin play or a costume hammered dulcimer play, which was warmly received by the audience. The name huazhuang yangqin was introducedto differentiate it from the original form of yangqin, in which all the characters sat there, singing. As the first huazhuang yangqin play involved a special character, a donkey, so this type of play was also called lüxi or donkey play. Huazhuang yangqin play was called differently in different places. It was known as yangqinxi in Jinan, capital city of Shandong Province, shangzhuang yangqin in the Southwestern Shandong, mixi in Linyi and Jiyang, bengbengxi in the Shandong Pensinsula, lüxi (neighborhood play) in Bo’xing, and lüxi (thread play) in other areas. As yangqin players were mostly a couple, man and wife, or family members, and the repertoire was mostly about a young lad seeking refuge with a relative, a young lady giving “gold” to her lad, reunion of a couple, the play got its name lüju, literally meaning a two-character play, for the Chinese character lüis composed of two mouths. Others say that as lü (neighborhood), lü(thread) and lü (donkey) are homophones, hence the name lüju.Lüju or Shandong Opera falls into two categories: short plays like A GoodSister-in-Law, Borrowing Money for the Spring Festival, W ang Dingbao Pawning the Dowry of His Fiancée, and “big plays” like Golden Whip, Golden Bracelets and Jade Rings, Five Heroines of the Tang Dynasty.Chuanju (Sichuan Opera)Chuanju or Sichuan Opera, which developed from gaoqiang, kunqiang, juqinqiang, tanqiang and a folk lantern play of Sichuan Province, is a popular folk art in Sichuan, Yunnan, Guizhou and other southwestern provinces in China.Sichuan Opera was divided into various schools in its long period of evolution, as different tunes were prevalent in different regions. This happened between the reign of Emperor Tongzhi and that of Emperor Guangxu of the Qing Dynasty. The division was based on the names of the regions such as the Western Sichuan School, Ziyang River School, Northern Sichuan School, and Eastern Sichuan School. There are six types of roles in the Sichuan Opera, namely sheng, dan, jing, mo, chou, za. And the repertoire of Sichuan Opera is, in a sense, too many to be enumerated. Drums and gongs are important instruments of Sichuan Opera, the rest of the instruments amountto in excess of 20. The most frequently used ones include small drums, medium-sized drums, big drums, big cymbals and small gongs, stringed instruments, and suona horn, a woodwind instrument, with small drums as the “command instrument”. A nd the drum and gong tunes add up to 300 or more.Sichuan Opera has a strong realist tradition, its performance real and exquisite, witty and humorous. It employs artistic exaggerations, and special characters use stunts such as immortals who have a third eye on their forehead that they can open suddenly to show their magic power; quick changes of facial characteristics without makeup; jumping through burning hoops, and hiding of swords. In short, the essence of Sichuan Opera performance is absolutely true to life, which has been inherited by generations and generations of players.。