和顺县凤台小戏调查与研究
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摘要
和顺凤台村犹如世外桃源,在这里生活的野民鄙老们悠然自得,商业的繁荣带来了如莺的江南小调,一种特殊的说唱艺术在凤台悄悄萌生,逐步发展成为集文学、音乐、舞蹈、美术于一体的戏曲表演形式。同时又借鉴和吸收了当地民歌音调和中路梆子的音乐曲牌、锣鼓经、蒲白等表现手段,演化为风格独特、形式多变、兼有江南风味的北方小戏——凤台小戏。
凤台小戏在和顺凤台村成为老百姓喜闻乐见的娱乐方式。农闲时节围坐自演自乐。潜移默化中感染了一代又一代后人,口耳相传养育了一代又一代本土“艺人”。每每说到小戏,男男女女,老老少少都能吭上几句,但问起小戏从哪里来,到没有确切的时间记忆和记载了。
凤台小戏的唱腔曲调多来自民间流行的俗曲、小调,老百姓听见怎么好听就怎么唱,常常以散板、慢板、中板、快板等不同节奏和速度来表现人物不同的喜、怒、哀、乐的思想感情。
凤台小戏的乐队分文、武场。文场主奏乐器以扬琴和笙为主,配以二胡、竹笛、三弦、四弦、二股弦等演奏。演奏起来有浓郁的南方丝竹乐味,清雅悦耳。武场打击乐器以板鼓为主,配有小战鼓、小锣、小镲、碰铃、梆子和五音锣。不用大锣、大镲。凤台小戏的化妆多学中路梆子。小旦色彩较浓重,显得年轻、漂亮、活泼、可爱。正旦妆略为淡一些,显得较为典雅、大方。丑角的化妆比较随意,一般是随心所欲地将脸面画成夸张的丑,而且能够体现人物滑稽和粗俗的个性,并无定式。
凤台小戏的剧目比较零散,散轶的较多。现存有《寄简》《拷红》《践别》《逾墙》《避雨》《送灯》等剧目三四十个。新的剧目多随时代的变化来演绎出剧目剧本。凤台小戏的语言,善于运用诗歌中常用的兴、比手法,语句生动活泼,运用自如,精炼形象,韵律和谐,朗朗上口。句式有十字句式、七字句式、五字句式、四字句式、三字句式,还有类似宋元曲结构的长短句。有话则长,无话则短,干净洗练的艺术手法。
本文正文从八个部分对小戏进行探讨,第一部分前言,介绍和顺县凤台村的乡土风情,前人对小戏的研究和本文的调整研究及突破;第二部分对小戏相关研究状况进行述评;第三部分探寻小戏的起源。笔者从名称说,江南说,商路即戏路之说三个方面来探讨凤台小戏的起源。第四部分梳理小戏的发展。笔者把凤台小戏的发展分成七个阶段,包括雏形期,形成期,定型期,兴盛期,借鉴期,停滞期,恢复期。在小戏的阶段发展中看出小戏发展的艰难;第五部分凤台小戏的体制。本文从角色体制、角色表演、音乐体制与乐队器乐、舞台艺术特征几方面来阐述;第六部分分析凤台小戏的剧目与剧本。在剧本分析中本文从西厢故事爱情剧本、才子佳人爱情戏、百姓日常生活琐事、改编至传奇或小戏、其他剧目来具体分析;第七部分凤台小戏的演出与艺人。第八部分分析和探寻凤台小戏的处境与出路。
凤台小戏的出路虽然极具艰难和坎坷,但笔者相信小戏的未来一定会灿烂如昔,因为有一些痴迷于小戏的人士,不遗余力地为小戏的创新与发展而跋涉。
The Fengtai village Heshun county like paradise, the local people who lives in here is carefree and content. The commercial prosperity has brought the oriole-like folk songs in south of the Yangzi River. A special traditional entertainment involving talking and singing art sprouts quietly in Fengtai. Develops into the performs form of collection of literature, music, dance and the fine arts gradually. Simultaneously profited and absorbed the local folk song’s tone and music names of the tunes to which qu are composed in zhonglu bangzi, gong and drum, Pubai and so on, evolved to the north operetta with unique style, changeable form and south of the Yangzi River flavor - Fengtai operetta.
The Fengtai operetta becomes the popular entertainment in Fengtai village Heshun county which plays in the slack season by sits in a circle. Subtly infected generations of posterity, has directly raised the native“entertainer”for generations. Often speaks of the folk drama, both the men and women, olds and youngs all can sing some of them, but asked where the operetta come from, there’s no recorde of the accurate time.
The melody of Fengtai operetta mainly come from the folk popular tunes, the folk song, the common people hears how to sing randomly, together with the different speed and rhythm of san ban, man ban, zhong ban, kuai ban etc. to display the character’s feelings of happy, anger and sorrow differently.
Fengtai operetta orchestra has string and wind instruments and percussion instruments. The string and wind instruments has the dulcimer and the Sheng primarily, matches by erhu, bamboo flute, sanxian, sixian, erg u xian etc.It has the ensemble taste rich in south flavor ,simple and elegant. The musicians who play percussion instruments use Bangu primarily together with xiaozhan drum, the small gong, small cha, Pengling, the Bangzi and five sound gongs without the big gong and big cha.
The cosmetics of Fengtai operetta like Zhonglu Bangzi. The xiaodan role is full of color, appears young, attractive, lively and lovable. Zhengdan appear is slightly elegant and natural. The clown’s make-up usually at will, the clown who becomes the ugly face with exaggeration, moreover it can manifest the character of funny and vulgar individuality which does not have the format.
The plays of Fengtai operetta are quite scattered and lost many. Only extant about 30 to 40 plays, such as "JiJan" "Kaohong" "Jianbie" "Yuqiang" "Biyu" "Songdeng" and so on. New plays deduct of changes of the plays script by generation.
The Fengtai operetta’s language is good at utilizing in the poetry commonly used the technique of Xing and Bi, the sentence is spirited, skillfully, fining image, harmonious rhythm, easy to sing. The sentence type has ten words expressions types, seven words expressions types, five words expressions types, four words expressions types, three words expressions types and similar and intermixed with the longer and shorter lines of Song and Yuan verse structure. No matter long or short, the speechs have clean succinct artistic technique.
This thesis explored the operetta from eight parts, the first part is introduction, introduces the local character of the Heshun County Fengtai village, the predecessor’s research on operetta and adjustment research and the breakthrough. The second part carries on the commentary to the operetta correlation research condition. The third part inquires the origin about the operetta. The author discussed the Fengtai operetta from three aspects, namely, the name, Jiangnan, the trade route which is the play road. The fourth part combs the development of operetta. The author divides the Fengtai operetta into seven stages, including embryonic form time, formative time, stereotypia time, prosperous time, model time, plateau time, and recovery period. The difficulty in the operetta stage development which it develops is obviously. The fifth part is the system of Fengtai operetta. This thesis elaborated from the role system, the role performance, music system and the orchestra instrumental music, stagecraft characteristic several aspects. The sixth part analyzes the plays and the script of the Fengtai operetta. In the scenario analysis, this thesis analyzes from Xixiang love story script, the talented men and beautiful women love play, the common people daily life trivial matters, the reorganization to the legend or the operetta and other plays. The seventh part analyzes the performance and entertainer of Fengtai operetta. The eighth part analyzes and inquires about the situation and the outlet of the Fengtai operetta. Although the road of Fengtai operetta is difficult and rough, but the author believe that there must be development in the innovation.
凤台小戏在和顺凤台村成为老百姓喜闻乐见的娱乐方式。农闲时节围坐自演自乐。潜移默化中感染了一代又一代后人,口耳相传养育了一代又一代本土“艺人”。每每说到小戏,男男女女,老老少少都能吭上几句,但问起小戏从哪里来,到没有确切的时间记忆和记载了。
凤台小戏的唱腔曲调多来自民间流行的俗曲、小调,老百姓听见怎么好听就怎么唱,常常以散板、慢板、中板、快板等不同节奏和速度来表现人物不同的喜、怒、哀、乐的思想感情。
凤台小戏的乐队分文、武场。文场主奏乐器以扬琴和笙为主,配以二胡、竹笛、三弦、四弦、二股弦等演奏。演奏起来有浓郁的南方丝竹乐味,清雅悦耳。武场打击乐器以板鼓为主,配有小战鼓、小锣、小镲、碰铃、梆子和五音锣。不用大锣、大镲。凤台小戏的化妆多学中路梆子。小旦色彩较浓重,显得年轻、漂亮、活泼、可爱。正旦妆略为淡一些,显得较为典雅、大方。丑角的化妆比较随意,一般是随心所欲地将脸面画成夸张的丑,而且能够体现人物滑稽和粗俗的个性,并无定式。
凤台小戏的剧目比较零散,散轶的较多。现存有《寄简》《拷红》《践别》《逾墙》《避雨》《送灯》等剧目三四十个。新的剧目多随时代的变化来演绎出剧目剧本。凤台小戏的语言,善于运用诗歌中常用的兴、比手法,语句生动活泼,运用自如,精炼形象,韵律和谐,朗朗上口。句式有十字句式、七字句式、五字句式、四字句式、三字句式,还有类似宋元曲结构的长短句。有话则长,无话则短,干净洗练的艺术手法。
本文正文从八个部分对小戏进行探讨,第一部分前言,介绍和顺县凤台村的乡土风情,前人对小戏的研究和本文的调整研究及突破;第二部分对小戏相关研究状况进行述评;第三部分探寻小戏的起源。笔者从名称说,江南说,商路即戏路之说三个方面来探讨凤台小戏的起源。第四部分梳理小戏的发展。笔者把凤台小戏的发展分成七个阶段,包括雏形期,形成期,定型期,兴盛期,借鉴期,停滞期,恢复期。在小戏的阶段发展中看出小戏发展的艰难;第五部分凤台小戏的体制。本文从角色体制、角色表演、音乐体制与乐队器乐、舞台艺术特征几方面来阐述;第六部分分析凤台小戏的剧目与剧本。在剧本分析中本文从西厢故事爱情剧本、才子佳人爱情戏、百姓日常生活琐事、改编至传奇或小戏、其他剧目来具体分析;第七部分凤台小戏的演出与艺人。第八部分分析和探寻凤台小戏的处境与出路。
凤台小戏的出路虽然极具艰难和坎坷,但笔者相信小戏的未来一定会灿烂如昔,因为有一些痴迷于小戏的人士,不遗余力地为小戏的创新与发展而跋涉。
The Fengtai village Heshun county like paradise, the local people who lives in here is carefree and content. The commercial prosperity has brought the oriole-like folk songs in south of the Yangzi River. A special traditional entertainment involving talking and singing art sprouts quietly in Fengtai. Develops into the performs form of collection of literature, music, dance and the fine arts gradually. Simultaneously profited and absorbed the local folk song’s tone and music names of the tunes to which qu are composed in zhonglu bangzi, gong and drum, Pubai and so on, evolved to the north operetta with unique style, changeable form and south of the Yangzi River flavor - Fengtai operetta.
The Fengtai operetta becomes the popular entertainment in Fengtai village Heshun county which plays in the slack season by sits in a circle. Subtly infected generations of posterity, has directly raised the native“entertainer”for generations. Often speaks of the folk drama, both the men and women, olds and youngs all can sing some of them, but asked where the operetta come from, there’s no recorde of the accurate time.
The melody of Fengtai operetta mainly come from the folk popular tunes, the folk song, the common people hears how to sing randomly, together with the different speed and rhythm of san ban, man ban, zhong ban, kuai ban etc. to display the character’s feelings of happy, anger and sorrow differently.
Fengtai operetta orchestra has string and wind instruments and percussion instruments. The string and wind instruments has the dulcimer and the Sheng primarily, matches by erhu, bamboo flute, sanxian, sixian, erg u xian etc.It has the ensemble taste rich in south flavor ,simple and elegant. The musicians who play percussion instruments use Bangu primarily together with xiaozhan drum, the small gong, small cha, Pengling, the Bangzi and five sound gongs without the big gong and big cha.
The cosmetics of Fengtai operetta like Zhonglu Bangzi. The xiaodan role is full of color, appears young, attractive, lively and lovable. Zhengdan appear is slightly elegant and natural. The clown’s make-up usually at will, the clown who becomes the ugly face with exaggeration, moreover it can manifest the character of funny and vulgar individuality which does not have the format.
The plays of Fengtai operetta are quite scattered and lost many. Only extant about 30 to 40 plays, such as "JiJan" "Kaohong" "Jianbie" "Yuqiang" "Biyu" "Songdeng" and so on. New plays deduct of changes of the plays script by generation.
The Fengtai operetta’s language is good at utilizing in the poetry commonly used the technique of Xing and Bi, the sentence is spirited, skillfully, fining image, harmonious rhythm, easy to sing. The sentence type has ten words expressions types, seven words expressions types, five words expressions types, four words expressions types, three words expressions types and similar and intermixed with the longer and shorter lines of Song and Yuan verse structure. No matter long or short, the speechs have clean succinct artistic technique.
This thesis explored the operetta from eight parts, the first part is introduction, introduces the local character of the Heshun County Fengtai village, the predecessor’s research on operetta and adjustment research and the breakthrough. The second part carries on the commentary to the operetta correlation research condition. The third part inquires the origin about the operetta. The author discussed the Fengtai operetta from three aspects, namely, the name, Jiangnan, the trade route which is the play road. The fourth part combs the development of operetta. The author divides the Fengtai operetta into seven stages, including embryonic form time, formative time, stereotypia time, prosperous time, model time, plateau time, and recovery period. The difficulty in the operetta stage development which it develops is obviously. The fifth part is the system of Fengtai operetta. This thesis elaborated from the role system, the role performance, music system and the orchestra instrumental music, stagecraft characteristic several aspects. The sixth part analyzes the plays and the script of the Fengtai operetta. In the scenario analysis, this thesis analyzes from Xixiang love story script, the talented men and beautiful women love play, the common people daily life trivial matters, the reorganization to the legend or the operetta and other plays. The seventh part analyzes the performance and entertainer of Fengtai operetta. The eighth part analyzes and inquires about the situation and the outlet of the Fengtai operetta. Although the road of Fengtai operetta is difficult and rough, but the author believe that there must be development in the innovation.
引文
1和顺县地方志编撰委员会编《和顺县志》海潮出版社,1993年。
2采访时间:2009年2月5日下午,采访地点:和顺县松烟村。
3见《笔记小说大观》六,扬州,广陵古籍刻印社。1983年,页113
3《中国古典戏曲论著集成》四,中国戏剧出版社,1982年,页56
5廖奔,刘彦君《中国戏曲发展史》册二,山西教育出版社,页244
6《吴梅戏曲论文集》页48,中国戏剧出版社,1983年版
8《和顺县志》和顺县志编纂委员会翻印。1980年4月重排本
13《清朝续文献通考》刘锦藻,浙江古籍出版社,2000,01,01
14转引至:陈旸及其《乐书》研究,郑长铃,文化艺术出版社,2006,01,01
17傅谨《二十世纪中国戏剧导论》,第87页。中国社会科学院出版社,2004年
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2采访时间:2009年2月5日下午,采访地点:和顺县松烟村。
3见《笔记小说大观》六,扬州,广陵古籍刻印社。1983年,页113
3《中国古典戏曲论著集成》四,中国戏剧出版社,1982年,页56
5廖奔,刘彦君《中国戏曲发展史》册二,山西教育出版社,页244
6《吴梅戏曲论文集》页48,中国戏剧出版社,1983年版
8《和顺县志》和顺县志编纂委员会翻印。1980年4月重排本
13《清朝续文献通考》刘锦藻,浙江古籍出版社,2000,01,01
14转引至:陈旸及其《乐书》研究,郑长铃,文化艺术出版社,2006,01,01
17傅谨《二十世纪中国戏剧导论》,第87页。中国社会科学院出版社,2004年
【1】清乾隆年间刊印的《缀白裘·花鼓》。
【2】《宋元明清戏曲研究论丛》.第三集.大东图书公司印行.1979年12月第1版。
【3】《中国古典戏曲论著集成》.中国戏剧出版社.1982年版。
【4】《山西地方剧种概说》.山西省地方志编纂委员会办公室.1983年版。
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