芒果视频下载汉调二簧简介汉调二簧发源地→MAIGOO百科

歷史淵源

漢(han)(han)(han)調(diao)二(er)(er)(er)簧系板腔(qiang)(qiang)(qiang)(qiang)體，以(yi)(yi)二(er)(er)(er)簧、西(xi)皮(pi)為主要聲(sheng)腔(qiang)(qiang)(qiang)(qiang)，屬(shu)“皮(pi)簧腔(qiang)(qiang)(qiang)(qiang)系”劇種(zhong)。二(er)(er)(er)簧、西(xi)皮(pi)為兩種(zhong)不同(tong)的腔(qiang)(qiang)(qiang)(qiang)調(diao)。其腔(qiang)(qiang)(qiang)(qiang)調(diao)考原至今亦為諸說(shuo)并(bing)存。一(yi)(yi)般認為，西(xi)皮(pi)調(diao)源于(yu)陜、甘一(yi)(yi)帶(dai)(dai)、即“西(xi)皮(pi)本甘肅腔(qiang)(qiang)(qiang)(qiang)、所用以(yi)(yi)托腔(qiang)(qiang)(qiang)(qiang)者為胡(hu)琴、為月(yue)琴、故日琴腔(qiang)(qiang)(qiang)(qiang)、西(xi)秦(qin)(qin)腔(qiang)(qiang)(qiang)(qiang)”“明末已流(liu)行內(nei)地’’之說(shuo)。二(er)(er)(er)簧調(diao)之源，一(yi)(yi)說(shuo)陜西(xi)土(tu)生(sheng)(sheng)土(tu)長(chang)，屬(shu)秦(qin)(qin)聲(sheng)古調(diao)之一(yi)(yi)種(zhong)，在漢(han)(han)(han)水(shui)流(liu)域(yu)發展成(cheng)長(chang)，是為“漢(han)(han)(han)調(diao)”、“漢(han)(han)(han)二(er)(er)(er)簧”、“西(xi)曲(qu)二(er)(er)(er)簧”；一(yi)(yi)說(shuo)漢(han)(han)(han)劉邦屯兵漢(han)(han)(han)中(zhong)時，將漢(han)(han)(han)水(shui)中(zhong)上(shang)(shang)游(you)民歌作軍謠，后帶(dai)(dai)入關中(zhong)制于(yu)樂(le)府，集秦(qin)(qin)楚(chu)樂(le)工傳(chuan)唱，因別于(yu)楚(chu)、秦(qin)(qin)樂(le)及西(xi)域(yu)龜茲(zi)樂(le)而稱漢(han)(han)(han)調(diao)、秦(qin)(qin)聲(sheng)；一(yi)(yi)說(shuo)源自唐代簧幡綽所創“簧冠體”而得名二(er)(er)(er)簧，即“梨園法曲(qu)說(shuo)”；一(yi)(yi)說(shuo)由“徽(hui)調(diao)”、“四平調(diao)”衍變(bian)；一(yi)(yi)說(shuo)“起于(yu)江(jiang)右(you)”，系“弋陽腔(qiang)(qiang)(qiang)(qiang)”派(pai)生(sheng)(sheng)，或“西(xi)秦(qin)(qin)腔(qiang)(qiang)(qiang)(qiang)”傳(chuan)入江(jiang)西(xi)，改竹笛(di)、嗩(suo)吶為胡(hu)琴伴奏變(bian)成(cheng)二(er)(er)(er)簧等。西(xi)皮(pi)、二(er)(er)(er)簧西(xi)調(diao)合流(liu)演變(bian)的眾說(shuo)中(zhong)，多認為明末清初，在漢(han)(han)(han)水(shui)流(liu)域(yu)合成(cheng)，先自漢(han)(han)(han)水(shui)中(zhong)上(shang)(shang)游(you)順流(liu)東下荊、襄、武漢(han)(han)(han)得以(yi)(yi)發展，又溯水(shui)洄流(liu)漢(han)(han)(han)水(shui)中(zhong)上(shang)(shang)游(you)一(yi)(yi)帶(dai)(dai)。

文化特征

角色行當

漢調二(er)簧在發展中(zhong)(zhong)曾(ceng)形(xing)成(cheng)安(an)康、漢中(zhong)(zhong)、商(shang)雒、關中(zhong)(zhong)等流派(pai)，名角層出不(bu)窮。其腳色共分(fen)末、凈、生(sheng)、旦、丑、外、小、貼、老、雜十個(ge)行當(dang)，表(biao)演講(jiang)究細膩精到，唱(chang)腔真假嗓并用(yong)(yong)，悠揚婉轉。生(sheng)、老旦一般用(yong)(yong)真聲(sheng)演唱(chang)，旦用(yong)(yong)假聲(sheng)演唱(chang)，凈則使(shi)用(yong)(yong)虎音(yin)(yin)。其唱(chang)腔以西皮(pi)、二(er)簧為主(zhu)，西皮(pi)用(yong)(yong)于表(biao)現愉快、爽(shuang)朗的情緒和(he)場面(mian)，二(er)簧用(yong)(yong)于表(biao)現悲哀、肅(su)穆的情緒和(he)場面(mian)，演唱(chang)中(zhong)(zhong)根據劇(ju)情需要(yao)交替使(shi)用(yong)(yong)，形(xing)成(cheng)甜音(yin)(yin)、苦音(yin)(yin)之分(fen)。

唱腔

漢調(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)唱(chang)(chang)(chang)(chang)腔(qiang)(qiang)分二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)(diao)(diao)(diao)和(he)西(xi)(xi)皮(pi)(pi)(pi)調(diao)(diao)(diao)(diao)(diao)兩種(zhong)(zhong)，俗稱二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)為“上(shang)把(ba)”，曲調(diao)(diao)(diao)(diao)(diao)唱(chang)(chang)(chang)(chang)法上(shang)講(jiang)究板(ban)(ban)(ban)(ban)起板(ban)(ban)(ban)(ban)落(luo)，用(yong)(yong)“頂牙(ya)子(zi)”開口。板(ban)(ban)(ban)(ban)式有(you)【導板(ban)(ban)(ban)(ban)】、【慢三眼(yan)】等十二(er)(er)(er)種(zhong)(zhong)。西(xi)(xi)皮(pi)(pi)(pi)調(diao)(diao)(diao)(diao)(diao)稱“下(xia)把(ba)”，唱(chang)(chang)(chang)(chang)法上(shang)眼(yan)起板(ban)(ban)(ban)(ban)落(luo)，用(yong)(yong)“過(guo)牙(ya)子(zi)”開口。板(ban)(ban)(ban)(ban)式有(you)【導板(ban)(ban)(ban)(ban)】、【一字(zi)】等十種(zhong)(zhong)。二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)的(de)反(fan)(fan)(fan)調(diao)(diao)(diao)(diao)(diao)稱反(fan)(fan)(fan)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)（陽板(ban)(ban)(ban)(ban)），西(xi)(xi)皮(pi)(pi)(pi)反(fan)(fan)(fan)調(diao)(diao)(diao)(diao)(diao)稱反(fan)(fan)(fan)西(xi)(xi)皮(pi)(pi)(pi)。另外，還(huan)有(you)高撥子(zi)、四平調(diao)(diao)(diao)(diao)(diao)、徽(hui)(hui)調(diao)(diao)(diao)(diao)(diao)、昆腔(qiang)(qiang)、板(ban)(ban)(ban)(ban)兒腔(qiang)(qiang)、吹腔(qiang)(qiang)、高腔(qiang)(qiang)、看山腔(qiang)(qiang)等雜(za)腔(qiang)(qiang)雜(za)調(diao)(diao)(diao)(diao)(diao)。如《牧虎關》高旺，《三搜府(fu)》施公皆(jie)用(yong)(yong)徽(hui)(hui)調(diao)(diao)(diao)(diao)(diao)演(yan)(yan)(yan)(yan)唱(chang)(chang)(chang)(chang)；《大賜福(fu)》、《過(guo)二(er)(er)(er)關》等全用(yong)(yong)昆曲演(yan)(yan)(yan)(yan)唱(chang)(chang)(chang)(chang)；《下(xia)河東》用(yong)(yong)吹腔(qiang)(qiang)（嗩吶調(diao)(diao)(diao)(diao)(diao)）演(yan)(yan)(yan)(yan)唱(chang)(chang)(chang)(chang)；《釘缸(gang)》用(yong)(yong)七句(ju)(ju)半演(yan)(yan)(yan)(yan)唱(chang)(chang)(chang)(chang)；《小(xiao)放(fang)牛》用(yong)(yong)小(xiao)調(diao)(diao)(diao)(diao)(diao)演(yan)(yan)(yan)(yan)唱(chang)(chang)(chang)(chang)等。把(ba)西(xi)(xi)皮(pi)(pi)(pi)【一字(zi)】和(he)【二(er)(er)(er)六】唱(chang)(chang)(chang)(chang)調(diao)(diao)(diao)(diao)(diao)的(de)過(guo)門重復(fu)一遍(bian)叫做(zuo)“雙環環”，是洛鎮二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)的(de)一大特色。整(zheng)個(ge)曲調(diao)(diao)(diao)(diao)(diao)委婉(wan)不足(zu)，質(zhi)樸有(you)余，故有(you)“硬腔(qiang)(qiang)”之說(shuo)。二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)中，有(you)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)或西(xi)(xi)皮(pi)(pi)(pi)一調(diao)(diao)(diao)(diao)(diao)到(dao)底的(de)，也有(you)兩種(zhong)(zhong)曲調(diao)(diao)(diao)(diao)(diao)交(jiao)替(ti)使用(yong)(yong)的(de)。有(you)的(de)上(shang)句(ju)(ju)唱(chang)(chang)(chang)(chang)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)，下(xia)句(ju)(ju)接(jie)西(xi)(xi)皮(pi)(pi)(pi)；或前(qian)半句(ju)(ju)唱(chang)(chang)(chang)(chang)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)，后半句(ju)(ju)唱(chang)(chang)(chang)(chang)西(xi)(xi)皮(pi)(pi)(pi)。如《二(er)(er)(er)進宮》“跪臣”一節，徐彥昭前(qian)半句(ju)(ju)用(yong)(yong)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)【原板(ban)(ban)(ban)(ban)】唱(chang)(chang)(chang)(chang)“嚇壞(huai)了定國王”，楊博接(jie)“兵部(bu)侍郎”，就(jiu)變(bian)(bian)成了西(xi)(xi)皮(pi)(pi)(pi)【流水板(ban)(ban)(ban)(ban)】。這(zhe)種(zhong)(zhong)變(bian)(bian)調(diao)(diao)(diao)(diao)(diao)改板(ban)(ban)(ban)(ban)的(de)“倒把(ba)”方式，是漢調(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)簧(huang)(huang)(huang)(huang)(huang)(huang)聲腔(qiang)(qiang)的(de)特點之一。

伴奏樂器

伴奏樂隊(dui)的(de)(de)文場使用胡(hu)琴、二(er)胡(hu)、月琴、三弦、阮(ruan)、嗩吶(na)、笛子、喇叭等樂器，武場則使用牙(ya)板(ban)、梆子、暴(bao)鼓、尖鼓、鑼、鐃鈸等。漢調二(er)簧(huang)的(de)(de)臉譜樣式(shi)眾多，比京劇和秦腔更為考(kao)究，收集到(dao)的(de)(de)有(you)四百五十多個(ge)。

板式

唱腔音樂中(zhong)有西皮(pi)類(lei)九種板(ban)(ban)式(shi)，如(ru)【導板(ban)(ban)】【慢一(yi)字(zi)】【一(yi)字(zi)】【二流】【三流】【浪里鉆】【撩子(zi)】【滾白(bai)】【灑頭】；二簧(huang)類(lei)板(ban)(ban)式(shi)有【導板(ban)(ban)】【回龍】【慢一(yi)字(zi)】【一(yi)字(zi)】【扣(kou)扣(kou)板(ban)(ban)】【平板(ban)(ban)】【浪里鉆】【撩子(zi)】八種。各種板(ban)(ban)式(shi)的起(qi)板(ban)(ban)、轉板(ban)(ban)、落板(ban)(ban)都有一(yi)定規律；唱腔也(ye)兼用一(yi)些昆(kun)曲，吹腔和(he)民(min)間小(xiao)調。

代表劇目

漢調二簧傳(chuan)統劇目(mu)豐富，僅安康一(yi)地就(jiu)有(you)一(yi)千(qian)二百多種，已挖掘整理(li)出本(ben)戲(xi)(xi)420個(ge)，折子戲(xi)(xi)517個(ge)。這(zhe)些劇目(mu)的題(ti)材多取(qu)自《東周列國志(zhi)》《三(san)國演義(yi)》《封(feng)神(shen)演義(yi)》及其他歷史故(gu)事(shi)和民(min)間傳(chuan)說，其中的代表性劇目(mu)有(you)《文(wen)姬辨琴(qin)》《胡(hu)笳(jia)十八拍》《戰蚩(chi)尤》《嘗百草》《簧天蕩》《清風(feng)亭(ting)》《二度梅》《打龍棚》《梁紅玉》等。

主要分類

漢中二簧

嘉慶至道光(guang)年(nian)(nian)(nian)(nian)間(jian)(jian)（1796—1850），楊(yang)(yang)金(jin)(jin)年(nian)(nian)(nian)(nian)在(zai)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)西(xi)(xi)(xi)鄉(xiang)開(kai)辦科(ke)班(ban)(ban)(ban)(ban)(ban)的(de)(de)出(chu)(chu)科(ke)藝術人(ren)(ren)，分赴漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)地(di)搭班(ban)(ban)(ban)(ban)(ban)或自(zi)行(xing)組(zu)班(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)，并開(kai)科(ke)授徒。使(shi)漢(han)(han)(han)(han)調(diao)二(er)簧(huang)(huang)在(zai)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)地(di)扎下了根子，出(chu)(chu)現了職業戲(xi)(xi)班(ban)(ban)(ban)(ban)(ban)仁(ren)豐班(ban)(ban)(ban)(ban)(ban)、漢(han)(han)(han)(han)榮班(ban)(ban)(ban)(ban)(ban)，于道光(guang)二(er)十(shi)年(nian)(nian)(nian)(nian)前后(hou)(hou)(hou)，還去湖(hu)北、安康(kang)等(deng)(deng)地(di)演出(chu)(chu)。楊(yang)(yang)金(jin)(jin)年(nian)(nian)(nian)(nian)、查來(lai)松及張清壽(shou)（人(ren)(ren)稱“活靈官”），又接辦了永(yong)、青長三(san)科(ke)，培訓出(chu)(chu)的(de)(de)藝人(ren)(ren)，又分別組(zu)建起長勝、青云、永(yong)太(tai)等(deng)(deng)班(ban)(ban)(ban)(ban)(ban)，并跟(gen)(gen)班(ban)(ban)(ban)(ban)(ban)又代培出(chu)(chu)太(tai)、周、萬(wan)字輩(bei)藝人(ren)(ren)，壯大(da)了二(er)簧(huang)(huang)力量，形成(cheng)(cheng)了上(shang)河(he)調(diao)（漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)為(wei)漢(han)(han)(han)(han)水上(shang)流，當地(di)欲稱上(shang)河(he)）二(er)簧(huang)(huang)。張清壽(shou)死后(hou)(hou)(hou)葬于鎮(zhen)巴(ba)縣(xian)(xian)(xian)城東北角，其第子于墳側(ce)修建“靈官廟”一座，廟內存(cun)有(you)(you)張的(de)(de)塑像，成(cheng)(cheng)為(wei)后(hou)(hou)(hou)世漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)藝人(ren)(ren)祭(ji)祖(zu)之地(di)。光(guang)緒(xu)年(nian)(nian)(nian)(nian)間(jian)(jian)（1875—1908）漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)等(deng)(deng)地(di)，又先后(hou)(hou)(hou)辦起了大(da)同社(she)、福慶班(ban)(ban)(ban)(ban)(ban)、雙慶班(ban)(ban)(ban)(ban)(ban)等(deng)(deng)漢(han)(han)(han)(han)調(diao)二(er)簧(huang)(huang)班(ban)(ban)(ban)(ban)(ban)社(she)。光(guang)緒(xu)三(san)十(shi)三(san)年(nian)(nian)(nian)(nian)（1907）楊(yang)(yang)偉(wei)堂、蘇巒玉(yu)、趙(zhao)某（山陽縣(xian)(xian)(xian)人(ren)(ren)）、賀保保（安康(kang)人(ren)(ren)），合伙于南鄭(zheng)縣(xian)(xian)(xian)秦家(jia)壩(ba)大(da)安寺開(kai)辦了天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)，共收(shou)學徒七十(shi)余人(ren)(ren)，為(wei)當時漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)最大(da)的(de)(de)科(ke)班(ban)(ban)(ban)(ban)(ban)。三(san)年(nian)(nian)(nian)(nian)后(hou)(hou)(hou)，西(xi)(xi)(xi)鄉(xiang)縣(xian)(xian)(xian)的(de)(de)九(jiu)榮兩科(ke)班(ban)(ban)(ban)(ban)(ban)四(si)十(shi)余人(ren)(ren)被接納入天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)，人(ren)(ren)員(yuan)(yuan)多達百余人(ren)(ren)以(yi)(yi)上(shang)，曾開(kai)往(wang)四(si)川演出(chu)(chu)。宣統二(er)年(nian)(nian)(nian)(nian)（1910）于成(cheng)(cheng)都首場演出(chu)(chu)《滿床笏》，轟動一時。至辛亥革命后(hou)(hou)(hou)，李偉(wei)堂才率班(ban)(ban)(ban)(ban)(ban)返回漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)。不(bu)久，戲(xi)(xi)箱交由(you)鄭(zheng)天(tian)滿領(ling)管，改(gai)天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)為(wei)興(xing)漢(han)(han)(han)(han)社(she)，成(cheng)(cheng)為(wei)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)二(er)簧(huang)(huang)的(de)(de)主(zhu)力。以(yi)(yi)后(hou)(hou)(hou)三(san)十(shi)年(nian)(nian)(nian)(nian)間(jian)(jian)，馬(ma)天(tian)慶（領(ling)班(ban)(ban)(ban)(ban)(ban)）與(yu)王吉元、王來(lai)壽(shou)等(deng)(deng)，跟(gen)(gen)班(ban)(ban)(ban)(ban)(ban)帶徒培訓出(chu)(chu)福、耀、玉(yu)、勝等(deng)(deng)輩(bei)學員(yuan)(yuan)，流布漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)縣(xian)(xian)(xian)，并組(zu)班(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)，遂出(chu)(chu)現了寧強縣(xian)(xian)(xian)的(de)(de)賀斌(bin)班(ban)(ban)(ban)(ban)(ban)、胡(hu)家(jia)壩(ba)的(de)(de)趙(zhao)開(kai)志班(ban)(ban)(ban)(ban)(ban)、留壩(ba)縣(xian)(xian)(xian)的(de)(de)唐安榮班(ban)(ban)(ban)(ban)(ban)、德燕班(ban)(ban)(ban)(ban)(ban)等(deng)(deng)幾(ji)十(shi)個戲(xi)(xi)班(ban)(ban)(ban)(ban)(ban)，使(shi)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)派(pai)二(er)簧(huang)(huang)開(kai)始出(chu)(chu)現了盛(sheng)期。抗日戰爭(zheng)后(hou)(hou)(hou)期，職業班(ban)(ban)(ban)(ban)(ban)社(she)僅留有(you)(you)蒲正(zheng)華所(suo)領(ling)的(de)(de)興(xing)漢(han)(han)(han)(han)社(she)，二(er)簧(huang)(huang)戲(xi)(xi)頓呈衰(shuai)弱景況。中(zhong)(zhong)(zhong)(zhong)(zhong)華人(ren)(ren)民(min)共和國(guo)成(cheng)(cheng)立后(hou)(hou)(hou)，由(you)興(xing)漢(han)(han)(han)(han)社(she)和幾(ji)個業余班(ban)(ban)(ban)(ban)(ban)人(ren)(ren)員(yuan)(yuan)組(zu)成(cheng)(cheng)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市平(ping)民(min)劇(ju)社(she)，后(hou)(hou)(hou)改(gai)為(wei)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市漢(han)(han)(han)(han)劇(ju)團。1967年(nian)(nian)(nian)(nian)解散(san)，1979年(nian)(nian)(nian)(nian)重新恢復(fu)。1981年(nian)(nian)(nian)(nian)與(yu)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市文工團合并，取名漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市實驗劇(ju)團。漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)漢(han)(han)(han)(han)調(diao)二(er)簧(huang)(huang)語音(yin)(yin)接近四(si)川，唱腔具有(you)(you)音(yin)(yin)調(diao)清新、柔婉的(de)(de)特點。主(zhu)要(yao)盛(sheng)行(xing)于漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)、西(xi)(xi)(xi)鄉(xiang)、城固、鎮(zhen)巴(ba)、勉縣(xian)(xian)(xian)等(deng)(deng)地(di)。

安康二簧

自乾隆(long)（1736—1795），蒿坪河(he)二(er)(er)(er)簧(huang)(huang)乾勝班(ban)(ban)(ban)(ban)、泰豐(feng)(feng)班(ban)(ban)(ban)(ban)出現(xian)(xian)后，至道(dao)光年(nian)(nian)間(jian)(jian)（1821—1850），又有(you)(you)漢(han)(han)(han)(han)榮班(ban)(ban)(ban)(ban)（漢(han)(han)(han)(han)中(zhong)(zhong)派(pai)）、仁(ren)豐(feng)(feng)班(ban)(ban)(ban)(ban)、宜太(tai)班(ban)(ban)(ban)(ban)相繼演(yan)(yan)出。咸豐(feng)(feng)十年(nian)(nian)（1860）安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)籍(ji)藝(yi)人(ren)(ren)范(fan)(fan)仁(ren)寶（渾(hun)名(ming)范(fan)(fan)驢子）從湖北房(fang)縣(xian)大(da)覺寺(si)率領瑞(rui)仁(ren)班(ban)(ban)(ban)(ban)回安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)，于城內三(san)義廟搭臺售票演(yan)(yan)出，又在(zai)(zai)金堂寺(si)、萬壽寺(si)開(kai)科(ke)(ke)授徒，培(pei)(pei)養(yang)出瑞(rui)、彩(cai)、方(fang)(fang)(fang)、盛(sheng)四(si)科(ke)(ke)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)。該班(ban)(ban)(ban)(ban)陣容整齊，行(xing)當齊全(quan)，其(qi)唱腔(qiang)(qiang)雜有(you)(you)湖北民間(jian)(jian)曲調(diao)，人(ren)(ren)稱(cheng)下河(he)調(diao)，具有(you)(you)唱腔(qiang)(qiang)清新悅耳，表演(yan)(yan)細膩神奇的風格，習(xi)者眾(zhong)(zhong)多(duo)(duo)，使安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)得到(dao)了(le)(le)長(chang)足(zu)新悅耳，表演(yan)(yan)細膩神奇的風格，習(xi)者眾(zhong)(zhong)多(duo)(duo)，使安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)得到(dao)了(le)(le)長(chang)足(zu)發(fa)展(zhan)。同治(zhi)年(nian)(nian)間(jian)(jian)（1862—1874）出科(ke)(ke)的方(fang)(fang)(fang)、盛(sheng)兩科(ke)(ke)藝(yi)術(shu)人(ren)(ren)，先(xian)后入關中(zhong)(zhong)、四(si)川(chuan)演(yan)(yan)出；瑞(rui)、彩(cai)科(ke)(ke)藝(yi)人(ren)(ren)長(chang)期駐(zhu)足(zu)于安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)地(di)(di)區(qu)，使安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)在(zai)(zai)唱腔(qiang)(qiang)、表演(yan)(yan)等方(fang)(fang)(fang)面發(fa)生了(le)(le)較大(da)變化。清末民案(an)初，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)各(ge)(ge)地(di)(di)班(ban)(ban)(ban)(ban)社日益增多(duo)(duo)，最有(you)(you)影響(xiang)的為(wei)十三(san)太(tai)字(zi)班(ban)(ban)(ban)(ban)。即(ji)金太(tai)班(ban)(ban)(ban)(ban)、福太(tai)班(ban)(ban)(ban)(ban)、鼎太(tai)班(ban)(ban)(ban)(ban)、廣太(tai)班(ban)(ban)(ban)(ban)、隆(long)太(tai)班(ban)(ban)(ban)(ban)、貴太(tai)班(ban)(ban)(ban)(ban)、仁(ren)太(tai)班(ban)(ban)(ban)(ban)、榮太(tai)班(ban)(ban)(ban)(ban)、盛(sheng)太(tai)班(ban)(ban)(ban)(ban)、喜太(tai)班(ban)(ban)(ban)(ban)、治(zhi)太(tai)班(ban)(ban)(ban)(ban)、裕太(tai)班(ban)(ban)(ban)(ban)和德太(tai)班(ban)(ban)(ban)(ban)。后因連年(nian)(nian)災(zai)荒，兵匪橫行(xing)，班(ban)(ban)(ban)(ban)社紛(fen)紛(fen)解體(ti)。民國八年(nian)(nian)（1919）年(nian)(nian)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)凌(ling)成(cheng)(cheng)佑(you)，在(zai)(zai)城防駐(zhu)軍北洋第(di)七師的支(zhi)持下，成(cheng)(cheng)立了(le)(le)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)同心社，以安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)城為(wei)大(da)本營，于陜(shan)南(nan)漢(han)(han)(han)(han)水(shui)流域(yu)各(ge)(ge)縣(xian)廟會(hui)(hui)、商(shang)會(hui)(hui)、鄉鎮售票演(yan)(yan)出，二(er)(er)(er)簧(huang)(huang)再一(yi)次(ci)起興(xing)。出現(xian)(xian)的藝(yi)人(ren)(ren)有(you)(you)青衣(yi)泰斗陳長(chang)庚，凈(jing)角陳天靜、知長(chang)福，花旦閻保林，丑角范(fan)(fan)大(da)德、梁金玉(yu)，生角徐茂才(cai)、黃大(da)架，小生孫玉(yu)寶、李玉(yu)喜及(ji)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)(er)簧(huang)(huang)第(di)一(yi)代女藝(yi)人(ren)(ren)鐘玉(yu)鳳、郭玉(yu)蓮(lian)等。抗日戰爭(zheng)爆發(fa)后，京、滬各(ge)(ge)地(di)(di)藝(yi)人(ren)(ren)逃至陜(shan)南(nan)，京劇(ju)(ju)(ju)(ju)、越劇(ju)(ju)(ju)(ju)、曲劇(ju)(ju)(ju)(ju)、話劇(ju)(ju)(ju)(ju)及(ji)秦腔(qiang)(qiang)傳入安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)(er)簧(huang)(huang)又走向了(le)(le)低谷。凌(ling)成(cheng)(cheng)佑(you)不甘(gan)現(xian)(xian)狀，在(zai)(zai)同心社開(kai)辦科(ke)(ke)班(ban)(ban)(ban)(ban)，培(pei)(pei)養(yang)了(le)(le)一(yi)批二(er)(er)(er)簧(huang)(huang)藝(yi)人(ren)(ren)，使安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)(er)簧(huang)(huang)再度出現(xian)(xian)了(le)(le)回升之勢。中(zhong)(zhong)華人(ren)(ren)民共和國成(cheng)(cheng)立后，安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)地(di)(di)方(fang)(fang)(fang)政府將同心社與西(xi)關自樂社合并成(cheng)(cheng)立安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)人(ren)(ren)民劇(ju)(ju)(ju)(ju)院，先(xian)后排演(yan)(yan)了(le)(le)《小二(er)(er)(er)黑(hei)結婚》、《窮人(ren)(ren)恨(hen)》、《九件(jian)衣(yi)》、《北京四(si)十天》等劇(ju)(ju)(ju)(ju)目，受(shou)到(dao)觀(guan)眾(zhong)(zhong)歡迎。1956年(nian)(nian)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)人(ren)(ren)民劇(ju)(ju)(ju)(ju)院改(gai)為(wei)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)縣(xian)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)團(tuan)。專區(qu)各(ge)(ge)縣(xian)也先(xian)后成(cheng)(cheng)立起縣(xian)屬專業漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)團(tuan)，從業人(ren)(ren)員(yuan)達三(san)百余人(ren)(ren)。1959年(nian)(nian)陜(shan)西(xi)省(sheng)戲曲學校設立漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)班(ban)(ban)(ban)(ban)，為(wei)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)培(pei)(pei)養(yang)學員(yuan)七十五名(ming)，充實了(le)(le)漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)新生力量。1981年(nian)(nian)陜(shan)西(xi)省(sheng)文(wen)化局于安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)舉(ju)行(xing)了(le)(le)首(shou)屆漢(han)(han)(han)(han)劇(ju)(ju)(ju)(ju)會(hui)(hui)演(yan)(yan)，名(ming)流薈(hui)萃，各(ge)(ge)呈異彩(cai)，把(ba)二(er)(er)(er)簧(huang)(huang)戲推到(dao)一(yi)個新的階段。安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)調(diao)二(er)(er)(er)簧(huang)(huang)擅演(yan)(yan)文(wen)戲，唱腔(qiang)(qiang)秀(xiu)麗、委婉(wan)，主要流行(xing)安(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)、旬陽(yang)、紫陽(yang)、平利、白河(he)、漢(han)(han)(han)(han)陰、石泉等地(di)(di)。

關中二簧

流行于西(xi)安(an)(an)、三(san)原、涇(jing)陽(yang)、鳳翔、長(chang)安(an)(an)、藍田、周至、戶縣、咸(xian)陽(yang)、耀(yao)縣等(deng)(deng)地(di)(di)。注重唱(chang)工(gong)，劇本水詞(ci)少，正、悲劇多(duo)(duo)，曲牌(pai)、打(da)擊樂多(duo)(duo)帶秦(qin)腔風味(wei)。最(zui)(zui)得文(wen)人(ren)(ren)、商紳、旗(qi)、滿、回民(min)和(he)軍(jun)政要(yao)人(ren)(ren)的(de)喜(xi)好。嘉(jia)(jia)慶(qing)末(mo)年(nian)(nian)(nian)(nian)，漢(han)(han)中(zhong)來字輩出科學(xue)(xue)(xue)生賀鴻生，領(ling)班(ban)往關中(zhong)寶(bao)雞、虢鎮、周至、戶縣、涇(jing)陽(yang)、三(san)原、富平及西(xi)安(an)(an)南(nan)關等(deng)(deng)地(di)(di)演出。受其(qi)影響，涇(jing)陽(yang)、長(chang)安(an)(an)、周至等(deng)(deng)地(di)(di)，亦先(xian)后(hou)(hou)(hou)組織起二(er)(er)(er)簧(huang)(huang)(huang)班(ban)社(she)。光緒年(nian)(nian)(nian)(nian)間（1875—1908），出現了(le)三(san)原的(de)清義(yi)(yi)班(ban)，涇(jing)陽(yang)吳寡婦班(ban)，并(bing)開始有(you)坤伶(ling)清唱(chang)或掛衣登臺(tai)。吳寡婦班(ban)搜羅藝(yi)人(ren)(ren)，延聘文(wen)人(ren)(ren)修改(gai)劇本，聲譽日增。慈禧太(tai)后(hou)(hou)(hou)逃至西(xi)安(an)(an)后(hou)(hou)(hou)，該班(ban)曾應詔承奉獻演，得到慈禧贈(zeng)匾嘉(jia)(jia)獎。辛亥革命后(hou)(hou)(hou)，陜(shan)西(xi)督(du)都(dou)張(zhang)翔初(chu)，革命軍(jun)師長(chang)張(zhang)云山，支持(chi)在西(xi)安(an)(an)創辦(ban)了(le)二(er)(er)(er)簧(huang)(huang)(huang)鳴(ming)(ming)(ming)盛學(xue)(xue)(xue)社(she)，先(xian)后(hou)(hou)(hou)培養學(xue)(xue)(xue)員(yuan)(yuan)二(er)(er)(er)百余人(ren)(ren)，成(cheng)為(wei)關中(zhong)地(di)(di)區(qu)二(er)(er)(er)簧(huang)(huang)(huang)的(de)最(zui)(zui)大(da)(da)科班(ban)。教師有(you)趙(zhao)安(an)(an)子(zi)、吳李乾等(deng)(deng)。出科的(de)演員(yuan)(yuan)有(you)山鳴(ming)(ming)(ming)歧、劉鳴(ming)(ming)(ming)祥、張(zhang)鳴(ming)(ming)(ming)峰、雷鳴(ming)(ming)(ming)震等(deng)(deng)，成(cheng)為(wei)關中(zhong)二(er)(er)(er)簧(huang)(huang)(huang)的(de)中(zhong)堅(jian)力量，曾受聘于四川、甘肅、河(he)南(nan)等(deng)(deng)地(di)(di)傳(chuan)藝(yi)和(he)演出。關中(zhong)二(er)(er)(er)簧(huang)(huang)(huang)演出的(de)主要(yao)劇目有(you)《火輪牌(pai)》、《汜水關》、《破桃山》、《出五關》、《過(guo)巴(ba)州(zhou)》、《鎖陽(yang)城》、《四平山》等(deng)(deng)。1925年(nian)(nian)(nian)(nian)駐軍(jun)賈興運組織的(de)二(er)(er)(er)簧(huang)(huang)(huang)班(ban)，演出一時而解體。1931年(nian)(nian)(nian)(nian)，藝(yi)人(ren)(ren)王安(an)(an)奎創辦(ban)志義(yi)(yi)科班(ban)，培養出演員(yuan)(yuan)劉志俊(jun)、劉志勝、馮志才、邵志福、董志杰(jie)等(deng)(deng)，同時還出現有(you)慶(qing)義(yi)(yi)社(she)和(he)中(zhong)興社(she)，因難以立足西(xi)安(an)(an)而多(duo)(duo)巡回于外(wai)縣演出。1949年(nian)(nian)(nian)(nian)初(chu)，原“鳴(ming)(ming)(ming)盛學(xue)(xue)(xue)社(she)”、“慶(qing)義(yi)(yi)社(she)”等(deng)(deng)漢(han)(han)調二(er)(er)(er)簧(huang)(huang)(huang)班(ban)社(she)合并(bing)為(wei)“大(da)(da)眾劇社(she)”，活(huo)動(dong)三(san)年(nian)(nian)(nian)(nian)散班(ban)。自此，關中(zhong)地(di)(di)區(qu)再無專業二(er)(er)(er)簧(huang)(huang)(huang)劇團，僅(jin)西(xi)安(an)(an)、藍田、戶縣尚有(you)二(er)(er)(er)簧(huang)(huang)(huang)研(yan)究會(hui)，經常組織一些業余演唱(chang)活(huo)動(dong)。

洛鎮二簧

盛行于鎮(zhen)安(an)、山(shan)(shan)陽(yang)、商(shang)縣(xian)、洛(luo)南等(deng)(deng)(deng)地。向以武戲(xi)見長，演(yan)《八蠟廟》、《紅桃山(shan)(shan)》等(deng)(deng)(deng)劇(ju)(ju)，使(shi)用真槍真刀。同(tong)治、光緒(xu)年(nian)間（1862—1908），出(chu)(chu)(chu)(chu)科(ke)于漢中(zhong)西鄉沙(sha)河坎楊(yang)(yang)金年(nian)科(ke)班(ban)(ban)的(de)名(ming)藝(yi)人賀鴻生(sheng)(sheng)(sheng)，曾從(cong)湖北(bei)、關中(zhong)往返于商(shang)洛(luo)地區傳播二(er)(er)簧，培(pei)養出(chu)(chu)(chu)(chu)趙安(an)子、吳寶卿、演(yan)技超(chao)群，頗受觀(guan)眾(zhong)歡迎。光緒(xu)二(er)(er)十(shi)(shi)四年(nian)（1898），清(qing)廷(ting)還(huan)詔趙、吳進宮(gong)演(yan)唱。姚政班(ban)(ban)先后舉辦(ban)科(ke)班(ban)(ban)，培(pei)養出(chu)(chu)(chu)(chu)“廣(guang)”、“慶”兩科(ke)藝(yi)人五十(shi)(shi)余(yu)(yu)名(ming)，壯大(da)了洛(luo)鎮(zhen)二(er)(er)簧的(de)演(yan)出(chu)(chu)(chu)(chu)隊伍。二(er)(er)十(shi)(shi)世紀二(er)(er)、三(san)十(shi)(shi)年(nian)代(dai)，二(er)(er)簧戲(xi)繼續發展，出(chu)(chu)(chu)(chu)現(xian)的(de)班(ban)(ban)社(she)有柞(zuo)(zuo)水縣(xian)北(bei)河代(dai)大(da)爺班(ban)(ban)，商(shang)縣(xian)城內孔海山(shan)(shan)的(de)商(shang)山(shan)(shan)升(sheng)平社(she)，商(shang)縣(xian)北(bei)區的(de)屈映南班(ban)(ban)，鎮(zhen)安(an)縣(xian)城姚再(zai)勝的(de)五福(fu)班(ban)(ban)，云蓋寺的(de)安(an)樂社(she)和(he)柞(zuo)(zuo)水石鎮(zhen)、商(shang)縣(xian)黑(hei)龍口、韓峪(yu)川、楊(yang)(yang)斜、東鄉等(deng)(deng)(deng)地的(de)二(er)(er)簧班(ban)(ban)，共十(shi)(shi)余(yu)(yu)個。藝(yi)人有代(dai)大(da)爺班(ban)(ban)的(de)劉五燕（紅生(sheng)(sheng)(sheng)、武旦）、張志(zhi)富(fu)（二(er)(er)凈(jing)）、朱長福(fu)（外）、龔金娃(wa)(wa)（末）等(deng)(deng)(deng)，五福(fu)班(ban)(ban)的(de)尹(yin)榮山(shan)(shan)（凈(jing)）、董興平（旦）、金雙慶（生(sheng)(sheng)(sheng)）、雷(lei)鳴震（生(sheng)(sheng)(sheng)）等(deng)(deng)(deng)，安(an)樂社(she)的(de)羅(luo)福(fu)娃(wa)(wa)、陳大(da)炮(pao)、劉子勝（生(sheng)(sheng)(sheng)）、張長生(sheng)(sheng)(sheng)（丑(chou)）、高志(zhi)海（旦）等(deng)(deng)(deng)，商(shang)縣(xian)、山(shan)(shan)陽(yang)、柞(zuo)(zuo)水縣(xian)各班(ban)(ban)的(de)李保林、王(wang)廣(guang)翠(cui)、陳剛娃(wa)(wa)、黃(huang)亮子、呂慶華(hua)、張慶鴻等(deng)(deng)(deng)。演(yan)出(chu)(chu)(chu)(chu)的(de)劇(ju)(ju)目(mu)主(zhu)要有《斬黃(huang)袍(pao)》《天(tian)水關》《端午(wu)門》《受禪臺》《天(tian)才吃饃(mo)》《南北(bei)會》《洪羊洞》《白門樓(lou)》《清(qing)河橋(qiao)》《大(da)開榜》《元宵謎》《梵王(wang)宮(gong)》《漁(yu)舟配》《鼓(gu)滾劉封》《雙投唐》《草(cao)橋(qiao)關》《月(yue)明樓(lou)》《望(wang)兒樓(lou)》等(deng)(deng)(deng)。抗日戰(zhan)爭(zheng)期(qi)(qi)間，洛(luo)鎮(zhen)漢調二(er)(er)簧呈現(xian)蕭條之勢，不(bu)少班(ban)(ban)社(she)解體。至抗日戰(zhan)爭(zheng)末期(qi)(qi)，只有柞(zuo)(zuo)水抗建(jian)劇(ju)(ju)團(tuan)(tuan)、鎮(zhen)安(an)三(san)勝班(ban)(ban)等(deng)(deng)(deng)還(huan)在演(yan)出(chu)(chu)(chu)(chu)。中(zhong)華(hua)人民(min)共和(he)國成(cheng)立后，1955年(nian)5月(yue)以大(da)同(tong)社(she)和(he)抗建(jian)劇(ju)(ju)團(tuan)(tuan)為基(ji)礎(chu)建(jian)立了商(shang)洛(luo)新生(sheng)(sheng)(sheng)劇(ju)(ju)團(tuan)(tuan)，1956年(nian)秋，鎮(zhen)安(an)縣(xian)以三(san)勝班(ban)(ban)為基(ji)礎(chu)組建(jian)了群眾(zhong)劇(ju)(ju)團(tuan)(tuan)。1957年(nian)后又相繼組建(jian)成(cheng)立了山(shan)(shan)陽(yang)縣(xian)和(he)鎮(zhen)安(an)縣(xian)兩個縣(xian)級專業漢劇(ju)(ju)團(tuan)(tuan)，經常(chang)于本縣(xian)及商(shang)縣(xian)、洛(luo)南、丹鳳等(deng)(deng)(deng)地巡回演(yan)出(chu)(chu)(chu)(chu)。并(bing)招(zhao)收(shou)學員(yuan)(yuan)，培(pei)養出(chu)(chu)(chu)(chu)武新艾等(deng)(deng)(deng)一批演(yan)員(yuan)(yuan)。

傳承保護

傳承價值

經研究認(ren)定，漢調二簧形成較早(zao)，各地其(qi)他(ta)皮簧聲(sheng)腔劇種都與(yu)之存在(zai)淵源關系，它對(dui)川劇、徽(hui)劇、京劇等的形成和發展有(you)著不可忽略的影響。

傳承現狀

如今，漢(han)調二簧觀眾銳減，經(jing)濟(ji)上出現困難，不斷走(zou)向衰落，專業劇團(tuan)紛(fen)紛(fen)解散，僅(jin)剩下安康漢(han)濱區一(yi)個劇團(tuan)還在維持(chi)演出，而(er)且這個惟一(yi)的(de)劇團(tuan)也正瀕臨(lin)解散的(de)危機。在此(ci)情(qing)勢下，有必要大聲(sheng)呼吁，應該(gai)盡快對這一(yi)古老劇種進行(xing)搶救和保護。

傳承人物

龔尚(shang)武，男，漢族(zu)，1937年生，陜西漢陰(yin)人(ren)，第(di)二批國(guo)家級非物質文化遺產項目漢調二簧代表性(xing)傳承(cheng)人(ren)。

王發蕓，女，漢族，1941年生，陜西安康人(ren)，國(guo)家(jia)二級演員，第二批國(guo)家(jia)級非(fei)物質文化遺產項目漢調二簧(huang)代表性傳承(cheng)人(ren)。

保護措施

1956年，陜(shan)西省文化局及(ji)陜(shan)西省劇(ju)目工作室在安康設立專區戲曲發掘組，全面組織二黃老藝人們(men)口述(shu)傳代輩份、班社(she)來往和源流沿(yan)革；以及(ji)迄今(jin)對古戲樓遺存至今(jin)的班社(she)壁題(ti)留字。

2019年11月，《國家級非物質文(wen)化(hua)遺產代表性項(xiang)目保(bao)護單(dan)位名單(dan)》公布(bu)，安康市(shi)群眾藝術館、竹溪縣(xian)山(shan)二(er)黃劇種保(bao)護傳承展演中心獲得“漢調二(er)簧”項(xiang)目保(bao)護單(dan)位資(zi)格。

社會影響

重要演出

1981年，陜西省(sheng)文(wen)化(hua)廳在安(an)康舉辦“陜西省(sheng)首屆漢劇會(hui)演”，陜南地區有十余個專業劇團參加演出，出現了空前繁榮的局面。

2015年10月(yue)16日晚(wan)，為(wei)喜迎(ying)“第十一屆(jie)中國(guo)文(wen)化藝術(shu)節”倒計(ji)時(shi)一周年，由寧陜(shan)縣文(wen)廣局主辦、廣貨街鎮沙溝漢劇自樂班社承辦的漢調二(er)黃專(zhuan)場演出在寧陜(shan)縣電影院精彩上(shang)演。

榮譽表彰

2012年，平(ping)利(li)縣選送(song)的(de)漢(han)調二黃(huang)戲(xi)《八仙游(you)八仙》在首屆漢(han)調二黃(huang)自樂班社擂臺賽中榮獲一(yi)等獎。

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