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歷史淵源

漢(han)(han)(han)調(diao)二(er)(er)(er)簧系板腔(qiang)(qiang)(qiang)體，以(yi)二(er)(er)(er)簧、西(xi)(xi)(xi)皮為(wei)主要聲腔(qiang)(qiang)(qiang)，屬“皮簧腔(qiang)(qiang)(qiang)系”劇種。二(er)(er)(er)簧、西(xi)(xi)(xi)皮為(wei)兩種不(bu)同的腔(qiang)(qiang)(qiang)調(diao)。其腔(qiang)(qiang)(qiang)調(diao)考(kao)原至(zhi)今亦為(wei)諸(zhu)說(shuo)(shuo)并存(cun)。一般認為(wei)，西(xi)(xi)(xi)皮調(diao)源于陜、甘一帶(dai)、即(ji)“西(xi)(xi)(xi)皮本甘肅腔(qiang)(qiang)(qiang)、所用以(yi)托腔(qiang)(qiang)(qiang)者為(wei)胡琴(qin)、為(wei)月(yue)琴(qin)、故日琴(qin)腔(qiang)(qiang)(qiang)、西(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”“明末已流(liu)(liu)行內地’’之(zhi)(zhi)說(shuo)(shuo)。二(er)(er)(er)簧調(diao)之(zhi)(zhi)源，一說(shuo)(shuo)陜西(xi)(xi)(xi)土(tu)生土(tu)長，屬秦(qin)(qin)(qin)聲古調(diao)之(zhi)(zhi)一種，在(zai)漢(han)(han)(han)水(shui)流(liu)(liu)域發(fa)展成(cheng)長，是(shi)為(wei)“漢(han)(han)(han)調(diao)”、“漢(han)(han)(han)二(er)(er)(er)簧”、“西(xi)(xi)(xi)曲二(er)(er)(er)簧”；一說(shuo)(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)游(you)(you)民歌(ge)作軍謠，后帶(dai)入關中(zhong)制(zhi)于樂府，集秦(qin)(qin)(qin)楚樂工傳(chuan)(chuan)唱，因(yin)別(bie)于楚、秦(qin)(qin)(qin)樂及西(xi)(xi)(xi)域龜茲樂而稱漢(han)(han)(han)調(diao)、秦(qin)(qin)(qin)聲；一說(shuo)(shuo)源自(zi)唐代簧幡綽所創“簧冠體”而得名二(er)(er)(er)簧，即(ji)“梨園(yuan)法(fa)曲說(shuo)(shuo)”；一說(shuo)(shuo)由“徽調(diao)”、“四平調(diao)”衍變(bian)(bian)；一說(shuo)(shuo)“起于江(jiang)右”，系“弋(yi)陽腔(qiang)(qiang)(qiang)”派生，或“西(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”傳(chuan)(chuan)入江(jiang)西(xi)(xi)(xi)，改竹(zhu)笛、嗩吶為(wei)胡琴(qin)伴(ban)奏變(bian)(bian)成(cheng)二(er)(er)(er)簧等(deng)。西(xi)(xi)(xi)皮、二(er)(er)(er)簧西(xi)(xi)(xi)調(diao)合(he)流(liu)(liu)演變(bian)(bian)的眾(zhong)說(shuo)(shuo)中(zhong)，多(duo)認為(wei)明末清初，在(zai)漢(han)(han)(han)水(shui)流(liu)(liu)域合(he)成(cheng)，先(xian)自(zi)漢(han)(han)(han)水(shui)中(zhong)上(shang)游(you)(you)順流(liu)(liu)東下荊、襄、武(wu)漢(han)(han)(han)得以(yi)發(fa)展，又溯(su)水(shui)洄流(liu)(liu)漢(han)(han)(han)水(shui)中(zhong)上(shang)游(you)(you)一帶(dai)。

文化特征

角色行當

漢調二(er)(er)簧(huang)(huang)在發(fa)展(zhan)中(zhong)曾形(xing)成(cheng)(cheng)安康、漢中(zhong)、商雒、關中(zhong)等流派，名角層出不窮。其(qi)腳色(se)共分末、凈、生(sheng)、旦(dan)、丑、外、小、貼(tie)、老、雜十個行(xing)當，表演(yan)(yan)講(jiang)究細膩精(jing)到，唱(chang)(chang)腔真(zhen)假(jia)嗓并(bing)用(yong)(yong)(yong)(yong)(yong)，悠(you)揚婉轉。生(sheng)、老旦(dan)一(yi)般用(yong)(yong)(yong)(yong)(yong)真(zhen)聲(sheng)演(yan)(yan)唱(chang)(chang)，旦(dan)用(yong)(yong)(yong)(yong)(yong)假(jia)聲(sheng)演(yan)(yan)唱(chang)(chang)，凈則(ze)使用(yong)(yong)(yong)(yong)(yong)虎音(yin)(yin)。其(qi)唱(chang)(chang)腔以西皮(pi)、二(er)(er)簧(huang)(huang)為主，西皮(pi)用(yong)(yong)(yong)(yong)(yong)于(yu)表現愉快、爽朗的情緒和場(chang)面，二(er)(er)簧(huang)(huang)用(yong)(yong)(yong)(yong)(yong)于(yu)表現悲哀(ai)、肅穆的情緒和場(chang)面，演(yan)(yan)唱(chang)(chang)中(zhong)根據(ju)劇情需要交(jiao)替使用(yong)(yong)(yong)(yong)(yong)，形(xing)成(cheng)(cheng)甜(tian)音(yin)(yin)、苦音(yin)(yin)之分。

唱腔

漢調(diao)(diao)(diao)(diao)二(er)(er)(er)簧(huang)(huang)唱(chang)(chang)腔(qiang)分二(er)(er)(er)簧(huang)(huang)調(diao)(diao)(diao)(diao)和(he)西(xi)(xi)皮(pi)調(diao)(diao)(diao)(diao)兩(liang)種(zhong)(zhong)，俗稱二(er)(er)(er)簧(huang)(huang)為“上把(ba)”，曲調(diao)(diao)(diao)(diao)唱(chang)(chang)法上講究(jiu)板(ban)(ban)起板(ban)(ban)落(luo)，用(yong)“頂牙子(zi)”開口(kou)。板(ban)(ban)式有【導板(ban)(ban)】、【慢三(san)眼(yan)】等(deng)十二(er)(er)(er)種(zhong)(zhong)。西(xi)(xi)皮(pi)調(diao)(diao)(diao)(diao)稱“下把(ba)”，唱(chang)(chang)法上眼(yan)起板(ban)(ban)落(luo)，用(yong)“過(guo)牙子(zi)”開口(kou)。板(ban)(ban)式有【導板(ban)(ban)】、【一(yi)字】等(deng)十種(zhong)(zhong)。二(er)(er)(er)簧(huang)(huang)的(de)(de)反(fan)調(diao)(diao)(diao)(diao)稱反(fan)二(er)(er)(er)簧(huang)(huang)（陽板(ban)(ban)），西(xi)(xi)皮(pi)反(fan)調(diao)(diao)(diao)(diao)稱反(fan)西(xi)(xi)皮(pi)。另外，還有高撥子(zi)、四(si)平調(diao)(diao)(diao)(diao)、徽調(diao)(diao)(diao)(diao)、昆(kun)腔(qiang)、板(ban)(ban)兒腔(qiang)、吹腔(qiang)、高腔(qiang)、看山腔(qiang)等(deng)雜腔(qiang)雜調(diao)(diao)(diao)(diao)。如《牧虎關》高旺(wang)，《三(san)搜府(fu)》施公(gong)皆用(yong)徽調(diao)(diao)(diao)(diao)演(yan)唱(chang)(chang)；《大賜福》、《過(guo)二(er)(er)(er)關》等(deng)全用(yong)昆(kun)曲演(yan)唱(chang)(chang)；《下河東》用(yong)吹腔(qiang)（嗩吶調(diao)(diao)(diao)(diao)）演(yan)唱(chang)(chang)；《釘(ding)缸》用(yong)七句(ju)(ju)半演(yan)唱(chang)(chang)；《小放牛》用(yong)小調(diao)(diao)(diao)(diao)演(yan)唱(chang)(chang)等(deng)。把(ba)西(xi)(xi)皮(pi)【一(yi)字】和(he)【二(er)(er)(er)六】唱(chang)(chang)調(diao)(diao)(diao)(diao)的(de)(de)過(guo)門重(zhong)復一(yi)遍叫做“雙環環”，是洛鎮二(er)(er)(er)簧(huang)(huang)的(de)(de)一(yi)大特(te)(te)色。整個曲調(diao)(diao)(diao)(diao)委婉不足，質樸有余，故有“硬腔(qiang)”之說。二(er)(er)(er)簧(huang)(huang)戲中，有二(er)(er)(er)簧(huang)(huang)或西(xi)(xi)皮(pi)一(yi)調(diao)(diao)(diao)(diao)到(dao)底的(de)(de)，也(ye)有兩(liang)種(zhong)(zhong)曲調(diao)(diao)(diao)(diao)交替使(shi)用(yong)的(de)(de)。有的(de)(de)上句(ju)(ju)唱(chang)(chang)二(er)(er)(er)簧(huang)(huang)，下句(ju)(ju)接西(xi)(xi)皮(pi)；或前半句(ju)(ju)唱(chang)(chang)二(er)(er)(er)簧(huang)(huang)，后半句(ju)(ju)唱(chang)(chang)西(xi)(xi)皮(pi)。如《二(er)(er)(er)進宮》“跪(gui)臣”一(yi)節，徐彥昭前半句(ju)(ju)用(yong)二(er)(er)(er)簧(huang)(huang)【原(yuan)板(ban)(ban)】唱(chang)(chang)“嚇壞了定國王(wang)”，楊博接“兵部侍郎”，就變成了西(xi)(xi)皮(pi)【流水板(ban)(ban)】。這種(zhong)(zhong)變調(diao)(diao)(diao)(diao)改板(ban)(ban)的(de)(de)“倒把(ba)”方式，是漢調(diao)(diao)(diao)(diao)二(er)(er)(er)簧(huang)(huang)聲腔(qiang)的(de)(de)特(te)(te)點之一(yi)。

伴奏樂器

伴奏樂隊的(de)文(wen)場使用(yong)胡琴(qin)、二胡、月琴(qin)、三弦(xian)、阮、嗩(suo)吶、笛子、喇叭等樂器，武場則使用(yong)牙板(ban)、梆子、暴鼓(gu)、尖鼓(gu)、鑼、鐃鈸(ba)等。漢調二簧的(de)臉譜樣(yang)式眾(zhong)多，比(bi)京劇(ju)和(he)秦腔更為考究，收集到的(de)有四百五(wu)十(shi)多個(ge)。

板式

唱(chang)腔音樂中(zhong)有西皮(pi)類(lei)九種板(ban)(ban)式，如【導板(ban)(ban)】【慢一字】【一字】【二流(liu)】【三流(liu)】【浪里(li)鉆】【撩(liao)子】【滾(gun)白】【灑頭】；二簧類(lei)板(ban)(ban)式有【導板(ban)(ban)】【回龍】【慢一字】【一字】【扣扣板(ban)(ban)】【平板(ban)(ban)】【浪里(li)鉆】【撩(liao)子】八種。各種板(ban)(ban)式的(de)起板(ban)(ban)、轉板(ban)(ban)、落(luo)板(ban)(ban)都有一定規律；唱(chang)腔也兼用一些昆曲，吹腔和民間小調。

代表劇目

漢調二簧傳統劇目豐富，僅安康(kang)一地(di)就(jiu)有(you)一千二百多種，已挖(wa)掘整理(li)出本戲420個(ge)(ge)，折(zhe)子戲517個(ge)(ge)。這些劇目的題材(cai)多取自《東周列國志》《三國演(yan)義》《封神(shen)演(yan)義》及(ji)其他歷史故事和民間(jian)傳說，其中的代(dai)表性劇目有(you)《文姬辨琴》《胡笳十八(ba)拍》《戰蚩尤》《嘗百草》《簧天(tian)蕩(dang)》《清風亭》《二度梅》《打(da)龍(long)棚(peng)》《梁紅玉》等。

主要分類

漢中二簧

嘉慶至道光(guang)年(nian)(nian)(nian)(nian)(nian)間（1796—1850），楊(yang)金年(nian)(nian)(nian)(nian)(nian)在漢(han)(han)中(zhong)(zhong)西(xi)(xi)鄉(xiang)開(kai)辦(ban)科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)的出(chu)(chu)科(ke)(ke)(ke)藝術人(ren)(ren)(ren)(ren)(ren)，分(fen)赴(fu)漢(han)(han)中(zhong)(zhong)各(ge)地(di)搭班(ban)(ban)(ban)(ban)(ban)(ban)(ban)或自行組班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演(yan)出(chu)(chu)，并(bing)(bing)開(kai)科(ke)(ke)(ke)授徒。使漢(han)(han)調(diao)二(er)簧(huang)(huang)在漢(han)(han)中(zhong)(zhong)各(ge)地(di)扎下了根(gen)子，出(chu)(chu)現(xian)了職業(ye)戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)仁(ren)豐班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、漢(han)(han)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，于(yu)(yu)道光(guang)二(er)十(shi)年(nian)(nian)(nian)(nian)(nian)前(qian)后(hou)，還去湖北(bei)、安康等地(di)演(yan)出(chu)(chu)。楊(yang)金年(nian)(nian)(nian)(nian)(nian)、查來松(song)及(ji)張(zhang)(zhang)清壽(shou)（人(ren)(ren)(ren)(ren)(ren)稱(cheng)“活靈(ling)(ling)官”），又(you)接辦(ban)了永、青長(chang)三(san)(san)(san)科(ke)(ke)(ke)，培(pei)訓出(chu)(chu)的藝人(ren)(ren)(ren)(ren)(ren)，又(you)分(fen)別組建起長(chang)勝、青云、永太(tai)等班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，并(bing)(bing)跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)又(you)代培(pei)出(chu)(chu)太(tai)、周(zhou)、萬字輩藝人(ren)(ren)(ren)(ren)(ren)，壯大(da)(da)(da)了二(er)簧(huang)(huang)力量，形成了上河調(diao)（漢(han)(han)中(zhong)(zhong)為(wei)漢(han)(han)水上流(liu)，當地(di)欲稱(cheng)上河）二(er)簧(huang)(huang)。張(zhang)(zhang)清壽(shou)死后(hou)葬(zang)于(yu)(yu)鎮巴(ba)縣(xian)城(cheng)東北(bei)角，其第子于(yu)(yu)墳側修建“靈(ling)(ling)官廟(miao)”一(yi)座(zuo)，廟(miao)內存(cun)有張(zhang)(zhang)的塑像，成為(wei)后(hou)世漢(han)(han)中(zhong)(zhong)藝人(ren)(ren)(ren)(ren)(ren)祭祖之(zhi)地(di)。光(guang)緒年(nian)(nian)(nian)(nian)(nian)間（1875—1908）漢(han)(han)中(zhong)(zhong)、南鄭(zheng)等地(di)，又(you)先后(hou)辦(ban)起了大(da)(da)(da)同社、福慶班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、雙慶班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等漢(han)(han)調(diao)二(er)簧(huang)(huang)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社。光(guang)緒三(san)(san)(san)十(shi)三(san)(san)(san)年(nian)(nian)(nian)(nian)(nian)（1907）楊(yang)偉堂、蘇巒(luan)玉(yu)、趙(zhao)某(mou)（山(shan)陽縣(xian)人(ren)(ren)(ren)(ren)(ren)）、賀保(bao)保(bao)（安康人(ren)(ren)(ren)(ren)(ren)），合伙于(yu)(yu)南鄭(zheng)縣(xian)秦家壩大(da)(da)(da)安寺(si)開(kai)辦(ban)了天(tian)泰科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，共(gong)收學徒七十(shi)余(yu)人(ren)(ren)(ren)(ren)(ren)，為(wei)當時漢(han)(han)中(zhong)(zhong)最大(da)(da)(da)的科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。三(san)(san)(san)年(nian)(nian)(nian)(nian)(nian)后(hou)，西(xi)(xi)鄉(xiang)縣(xian)的九榮兩科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)四十(shi)余(yu)人(ren)(ren)(ren)(ren)(ren)被接納入(ru)天(tian)泰科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，人(ren)(ren)(ren)(ren)(ren)員(yuan)多達百余(yu)人(ren)(ren)(ren)(ren)(ren)以上，曾開(kai)往(wang)四川(chuan)(chuan)演(yan)出(chu)(chu)。宣統二(er)年(nian)(nian)(nian)(nian)(nian)（1910）于(yu)(yu)成都首場演(yan)出(chu)(chu)《滿(man)床(chuang)笏(hu)》，轟動一(yi)時。至辛亥革命后(hou)，李偉堂才(cai)率班(ban)(ban)(ban)(ban)(ban)(ban)(ban)返(fan)回漢(han)(han)中(zhong)(zhong)。不久，戲(xi)箱(xiang)交由鄭(zheng)天(tian)滿(man)領(ling)(ling)管，改天(tian)泰科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)為(wei)興(xing)(xing)漢(han)(han)社，成為(wei)漢(han)(han)中(zhong)(zhong)二(er)簧(huang)(huang)的主力。以后(hou)三(san)(san)(san)十(shi)年(nian)(nian)(nian)(nian)(nian)間，馬天(tian)慶（領(ling)(ling)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)）與王吉(ji)元、王來壽(shou)等，跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)帶徒培(pei)訓出(chu)(chu)福、耀、玉(yu)、勝等輩學員(yuan)，流(liu)布漢(han)(han)中(zhong)(zhong)各(ge)縣(xian)，并(bing)(bing)組班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演(yan)出(chu)(chu)，遂出(chu)(chu)現(xian)了寧(ning)強縣(xian)的賀斌班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、胡家壩的趙(zhao)開(kai)志班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、留壩縣(xian)的唐安榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、德燕班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等幾(ji)(ji)十(shi)個(ge)戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，使漢(han)(han)中(zhong)(zhong)派(pai)二(er)簧(huang)(huang)開(kai)始出(chu)(chu)現(xian)了盛期。抗日戰爭后(hou)期，職業(ye)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社僅留有蒲正華所領(ling)(ling)的興(xing)(xing)漢(han)(han)社，二(er)簧(huang)(huang)戲(xi)頓呈衰弱景況。中(zhong)(zhong)華人(ren)(ren)(ren)(ren)(ren)民共(gong)和國(guo)成立后(hou)，由興(xing)(xing)漢(han)(han)社和幾(ji)(ji)個(ge)業(ye)余(yu)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)人(ren)(ren)(ren)(ren)(ren)員(yuan)組成漢(han)(han)中(zhong)(zhong)市(shi)平民劇(ju)社，后(hou)改為(wei)漢(han)(han)中(zhong)(zhong)市(shi)漢(han)(han)劇(ju)團(tuan)(tuan)。1967年(nian)(nian)(nian)(nian)(nian)解散(san)，1979年(nian)(nian)(nian)(nian)(nian)重新恢復。1981年(nian)(nian)(nian)(nian)(nian)與漢(han)(han)中(zhong)(zhong)市(shi)文工團(tuan)(tuan)合并(bing)(bing)，取名漢(han)(han)中(zhong)(zhong)市(shi)實驗劇(ju)團(tuan)(tuan)。漢(han)(han)中(zhong)(zhong)漢(han)(han)調(diao)二(er)簧(huang)(huang)語(yu)音接近四川(chuan)(chuan)，唱腔具(ju)有音調(diao)清新、柔婉(wan)的特點(dian)。主要盛行于(yu)(yu)漢(han)(han)中(zhong)(zhong)、南鄭(zheng)、西(xi)(xi)鄉(xiang)、城(cheng)固、鎮巴(ba)、勉(mian)縣(xian)等地(di)。

安康二簧

自乾(qian)隆（1736—1795），蒿坪河二(er)(er)簧乾(qian)勝班(ban)(ban)(ban)(ban)(ban)(ban)、泰(tai)(tai)豐班(ban)(ban)(ban)(ban)(ban)(ban)出(chu)(chu)(chu)現后(hou)(hou)(hou)，至道光年(nian)間（1821—1850），又(you)有(you)(you)漢(han)(han)(han)榮(rong)班(ban)(ban)(ban)(ban)(ban)(ban)（漢(han)(han)(han)中派）、仁豐班(ban)(ban)(ban)(ban)(ban)(ban)、宜太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)相繼演出(chu)(chu)(chu)。咸(xian)豐十(shi)(shi)年(nian)（1860）安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)籍藝(yi)(yi)人(ren)(ren)(ren)(ren)范(fan)仁寶(bao)(bao)（渾名(ming)范(fan)驢子）從(cong)湖北房(fang)縣(xian)(xian)(xian)大覺寺(si)率領瑞仁班(ban)(ban)(ban)(ban)(ban)(ban)回安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)，于(yu)城內三義(yi)廟搭(da)臺售票(piao)演出(chu)(chu)(chu)，又(you)在金堂寺(si)、萬壽寺(si)開(kai)科(ke)授(shou)徒，培養出(chu)(chu)(chu)瑞、彩(cai)、方(fang)(fang)、盛(sheng)四科(ke)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)(ren)(ren)。該班(ban)(ban)(ban)(ban)(ban)(ban)陣容整齊(qi)(qi)，行(xing)(xing)當齊(qi)(qi)全，其唱(chang)腔(qiang)(qiang)(qiang)雜有(you)(you)湖北民間曲調(diao)(diao)(diao)，人(ren)(ren)(ren)(ren)稱(cheng)下河調(diao)(diao)(diao)，具有(you)(you)唱(chang)腔(qiang)(qiang)(qiang)清新悅耳(er)，表(biao)演細膩神奇(qi)的(de)(de)(de)風(feng)格，習(xi)者(zhe)眾多(duo)，使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)(diao)(diao)二(er)(er)簧得(de)到了(le)(le)長(chang)足(zu)新悅耳(er)，表(biao)演細膩神奇(qi)的(de)(de)(de)風(feng)格，習(xi)者(zhe)眾多(duo)，使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)(diao)(diao)二(er)(er)簧得(de)到了(le)(le)長(chang)足(zu)發(fa)展。同(tong)(tong)治(zhi)年(nian)間（1862—1874）出(chu)(chu)(chu)科(ke)的(de)(de)(de)方(fang)(fang)、盛(sheng)兩科(ke)藝(yi)(yi)術人(ren)(ren)(ren)(ren)，先后(hou)(hou)(hou)入關(guan)(guan)中、四川演出(chu)(chu)(chu)；瑞、彩(cai)科(ke)藝(yi)(yi)人(ren)(ren)(ren)(ren)長(chang)期駐足(zu)于(yu)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)地(di)區，使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)(diao)(diao)二(er)(er)簧在唱(chang)腔(qiang)(qiang)(qiang)、表(biao)演等方(fang)(fang)面發(fa)生(sheng)了(le)(le)較大變(bian)化。清末民案(an)初，安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)各(ge)地(di)班(ban)(ban)(ban)(ban)(ban)(ban)社(she)(she)日益增(zeng)多(duo)，最有(you)(you)影響的(de)(de)(de)為十(shi)(shi)三太(tai)(tai)(tai)(tai)(tai)字(zi)班(ban)(ban)(ban)(ban)(ban)(ban)。即(ji)金太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、福太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、鼎太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、廣太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、隆太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、貴太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、仁太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、榮(rong)太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、盛(sheng)太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、喜(xi)太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、治(zhi)太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)、裕太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)和德(de)(de)太(tai)(tai)(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)。后(hou)(hou)(hou)因(yin)連(lian)年(nian)災(zai)荒，兵(bing)匪橫行(xing)(xing)，班(ban)(ban)(ban)(ban)(ban)(ban)社(she)(she)紛紛解(jie)體。民國八年(nian)（1919）年(nian)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)(ren)(ren)凌成(cheng)佑，在城防(fang)駐軍(jun)北洋第七(qi)師的(de)(de)(de)支(zhi)持下，成(cheng)立了(le)(le)漢(han)(han)(han)劇(ju)(ju)(ju)同(tong)(tong)心社(she)(she)，以安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)城為大本營，于(yu)陜南(nan)漢(han)(han)(han)水(shui)流域各(ge)縣(xian)(xian)(xian)廟會(hui)、商會(hui)、鄉鎮售票(piao)演出(chu)(chu)(chu)，二(er)(er)簧再一(yi)次起興。出(chu)(chu)(chu)現的(de)(de)(de)藝(yi)(yi)人(ren)(ren)(ren)(ren)有(you)(you)青衣泰(tai)(tai)斗(dou)陳長(chang)庚，凈角(jiao)陳天靜、知長(chang)福，花旦閻(yan)保林，丑角(jiao)范(fan)大德(de)(de)、梁金玉(yu)(yu)，生(sheng)角(jiao)徐茂才、黃大架，小(xiao)生(sheng)孫玉(yu)(yu)寶(bao)(bao)、李玉(yu)(yu)喜(xi)及(ji)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)簧第一(yi)代女藝(yi)(yi)人(ren)(ren)(ren)(ren)鐘玉(yu)(yu)鳳、郭(guo)玉(yu)(yu)蓮等。抗日戰爭爆(bao)發(fa)后(hou)(hou)(hou)，京、滬各(ge)地(di)藝(yi)(yi)人(ren)(ren)(ren)(ren)逃至陜南(nan)，京劇(ju)(ju)(ju)、越劇(ju)(ju)(ju)、曲劇(ju)(ju)(ju)、話(hua)劇(ju)(ju)(ju)及(ji)秦腔(qiang)(qiang)(qiang)傳(chuan)入安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)，安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)簧又(you)走向了(le)(le)低谷。凌成(cheng)佑不甘現狀(zhuang)，在同(tong)(tong)心社(she)(she)開(kai)辦科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)，培養了(le)(le)一(yi)批二(er)(er)簧藝(yi)(yi)人(ren)(ren)(ren)(ren)，使(shi)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)二(er)(er)簧再度(du)出(chu)(chu)(chu)現了(le)(le)回升之勢(shi)。中華人(ren)(ren)(ren)(ren)民共和國成(cheng)立后(hou)(hou)(hou)，安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)地(di)方(fang)(fang)政府將同(tong)(tong)心社(she)(she)與西關(guan)(guan)自樂社(she)(she)合并成(cheng)立安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)院，先后(hou)(hou)(hou)排演了(le)(le)《小(xiao)二(er)(er)黑結婚》、《窮(qiong)人(ren)(ren)(ren)(ren)恨》、《九件衣》、《北京四十(shi)(shi)天》等劇(ju)(ju)(ju)目，受到觀(guan)眾歡迎(ying)。1956年(nian)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)院改為安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)縣(xian)(xian)(xian)漢(han)(han)(han)劇(ju)(ju)(ju)團(tuan)。專區各(ge)縣(xian)(xian)(xian)也(ye)先后(hou)(hou)(hou)成(cheng)立起縣(xian)(xian)(xian)屬專業漢(han)(han)(han)劇(ju)(ju)(ju)團(tuan)，從(cong)業人(ren)(ren)(ren)(ren)員達三百余人(ren)(ren)(ren)(ren)。1959年(nian)陜西省(sheng)戲(xi)曲學校設立漢(han)(han)(han)劇(ju)(ju)(ju)班(ban)(ban)(ban)(ban)(ban)(ban)，為漢(han)(han)(han)劇(ju)(ju)(ju)培養學員七(qi)十(shi)(shi)五名(ming)，充實了(le)(le)漢(han)(han)(han)劇(ju)(ju)(ju)新生(sheng)力(li)量。1981年(nian)陜西省(sheng)文化局于(yu)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)舉行(xing)(xing)了(le)(le)首屆漢(han)(han)(han)劇(ju)(ju)(ju)會(hui)演，名(ming)流薈萃，各(ge)呈異彩(cai)，把二(er)(er)簧戲(xi)推到一(yi)個(ge)新的(de)(de)(de)階段。安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)調(diao)(diao)(diao)二(er)(er)簧擅(shan)演文戲(xi)，唱(chang)腔(qiang)(qiang)(qiang)秀麗、委婉，主要流行(xing)(xing)安(an)(an)(an)(an)康(kang)(kang)(kang)(kang)、旬陽、紫陽、平利(li)、白河、漢(han)(han)(han)陰、石泉(quan)等地(di)。

關中二簧

流行于(yu)西(xi)安(an)(an)、三(san)原(yuan)、涇陽(yang)(yang)(yang)、鳳(feng)翔、長(chang)安(an)(an)、藍田、周(zhou)至、戶縣(xian)、咸陽(yang)(yang)(yang)、耀縣(xian)等(deng)(deng)(deng)(deng)地(di)(di)。注重唱(chang)工(gong)，劇(ju)(ju)本水(shui)(shui)詞少，正(zheng)、悲劇(ju)(ju)多，曲牌、打擊樂多帶(dai)秦腔(qiang)風(feng)味。最得文人(ren)、商紳、旗、滿、回(hui)民和軍政要(yao)人(ren)的(de)喜好。嘉慶末(mo)年(nian)(nian)，漢(han)中(zhong)(zhong)(zhong)來字輩出(chu)(chu)(chu)科學生(sheng)賀鴻生(sheng)，領班(ban)往(wang)關(guan)中(zhong)(zhong)(zhong)寶雞、虢鎮(zhen)、周(zhou)至、戶縣(xian)、涇陽(yang)(yang)(yang)、三(san)原(yuan)、富(fu)平及西(xi)安(an)(an)南關(guan)等(deng)(deng)(deng)(deng)地(di)(di)演(yan)(yan)(yan)出(chu)(chu)(chu)。受(shou)其影(ying)響，涇陽(yang)(yang)(yang)、長(chang)安(an)(an)、周(zhou)至等(deng)(deng)(deng)(deng)地(di)(di)，亦(yi)先后(hou)組織(zhi)(zhi)起二(er)(er)簧(huang)班(ban)社(she)。光緒(xu)年(nian)(nian)間(jian)（1875—1908），出(chu)(chu)(chu)現(xian)了(le)三(san)原(yuan)的(de)清(qing)義班(ban)，涇陽(yang)(yang)(yang)吳寡婦(fu)班(ban)，并(bing)開始(shi)有(you)(you)坤(kun)伶清(qing)唱(chang)或掛衣登臺。吳寡婦(fu)班(ban)搜(sou)羅藝(yi)人(ren)，延(yan)聘文人(ren)修改劇(ju)(ju)本，聲譽日增。慈(ci)禧(xi)太(tai)后(hou)逃至西(xi)安(an)(an)后(hou)，該班(ban)曾(ceng)應詔承奉(feng)獻演(yan)(yan)(yan)，得到慈(ci)禧(xi)贈(zeng)匾嘉獎(jiang)。辛(xin)亥革命(ming)后(hou)，陜(shan)西(xi)督都張(zhang)翔初，革命(ming)軍師(shi)(shi)長(chang)張(zhang)云(yun)山(shan)，支持在西(xi)安(an)(an)創辦了(le)二(er)(er)簧(huang)鳴(ming)盛學社(she)，先后(hou)培(pei)養學員二(er)(er)百余人(ren)，成為關(guan)中(zhong)(zhong)(zhong)地(di)(di)區(qu)二(er)(er)簧(huang)的(de)最大科班(ban)。教師(shi)(shi)有(you)(you)趙(zhao)安(an)(an)子、吳李乾(qian)等(deng)(deng)(deng)(deng)。出(chu)(chu)(chu)科的(de)演(yan)(yan)(yan)員有(you)(you)山(shan)鳴(ming)歧、劉(liu)(liu)鳴(ming)祥、張(zhang)鳴(ming)峰、雷鳴(ming)震等(deng)(deng)(deng)(deng)，成為關(guan)中(zhong)(zhong)(zhong)二(er)(er)簧(huang)的(de)中(zhong)(zhong)(zhong)堅力量，曾(ceng)受(shou)聘于(yu)四川、甘肅、河南等(deng)(deng)(deng)(deng)地(di)(di)傳藝(yi)和演(yan)(yan)(yan)出(chu)(chu)(chu)。關(guan)中(zhong)(zhong)(zhong)二(er)(er)簧(huang)演(yan)(yan)(yan)出(chu)(chu)(chu)的(de)主要(yao)劇(ju)(ju)目有(you)(you)《火輪(lun)牌》、《汜水(shui)(shui)關(guan)》、《破(po)桃山(shan)》、《出(chu)(chu)(chu)五關(guan)》、《過巴州(zhou)》、《鎖陽(yang)(yang)(yang)城(cheng)》、《四平山(shan)》等(deng)(deng)(deng)(deng)。1925年(nian)(nian)駐軍賈(jia)興運組織(zhi)(zhi)的(de)二(er)(er)簧(huang)班(ban)，演(yan)(yan)(yan)出(chu)(chu)(chu)一(yi)時而(er)解體。1931年(nian)(nian)，藝(yi)人(ren)王安(an)(an)奎創辦志(zhi)(zhi)(zhi)義科班(ban)，培(pei)養出(chu)(chu)(chu)演(yan)(yan)(yan)員劉(liu)(liu)志(zhi)(zhi)(zhi)俊、劉(liu)(liu)志(zhi)(zhi)(zhi)勝、馮志(zhi)(zhi)(zhi)才(cai)、邵(shao)志(zhi)(zhi)(zhi)福、董志(zhi)(zhi)(zhi)杰等(deng)(deng)(deng)(deng)，同時還出(chu)(chu)(chu)現(xian)有(you)(you)慶義社(she)和中(zhong)(zhong)(zhong)興社(she)，因難以立足西(xi)安(an)(an)而(er)多巡(xun)回(hui)于(yu)外縣(xian)演(yan)(yan)(yan)出(chu)(chu)(chu)。1949年(nian)(nian)初，原(yuan)“鳴(ming)盛學社(she)”、“慶義社(she)”等(deng)(deng)(deng)(deng)漢(han)調二(er)(er)簧(huang)班(ban)社(she)合(he)并(bing)為“大眾劇(ju)(ju)社(she)”，活動三(san)年(nian)(nian)散班(ban)。自此，關(guan)中(zhong)(zhong)(zhong)地(di)(di)區(qu)再無專(zhuan)業(ye)二(er)(er)簧(huang)劇(ju)(ju)團，僅西(xi)安(an)(an)、藍田、戶縣(xian)尚(shang)有(you)(you)二(er)(er)簧(huang)研究會，經常組織(zhi)(zhi)一(yi)些業(ye)余演(yan)(yan)(yan)唱(chang)活動。

洛鎮二簧

盛(sheng)行于鎮(zhen)(zhen)(zhen)安(an)(an)、山(shan)陽、商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)、洛(luo)南等(deng)(deng)地(di)(di)。向以(yi)武(wu)戲見(jian)長，演(yan)(yan)(yan)《八蠟廟》、《紅(hong)桃山(shan)》等(deng)(deng)劇(ju)，使(shi)用真槍真刀。同治、光緒(xu)年間(jian)（1862—1908），出(chu)(chu)科(ke)(ke)于漢中西鄉(xiang)沙河(he)坎楊金(jin)年科(ke)(ke)班(ban)(ban)(ban)(ban)(ban)的(de)名藝(yi)人賀(he)鴻生(sheng)(sheng)，曾從湖北(bei)、關中往返于商(shang)(shang)(shang)洛(luo)地(di)(di)區(qu)傳播(bo)二(er)(er)簧(huang)(huang)，培養(yang)出(chu)(chu)趙安(an)(an)子、吳(wu)寶卿(qing)、演(yan)(yan)(yan)技(ji)超群，頗受觀眾歡迎。光緒(xu)二(er)(er)十四年（1898），清廷還詔趙、吳(wu)進(jin)宮(gong)演(yan)(yan)(yan)唱。姚(yao)政班(ban)(ban)(ban)(ban)(ban)先(xian)后(hou)舉辦(ban)科(ke)(ke)班(ban)(ban)(ban)(ban)(ban)，培養(yang)出(chu)(chu)“廣(guang)”、“慶(qing)”兩(liang)科(ke)(ke)藝(yi)人五十余(yu)名，壯大(da)(da)了(le)洛(luo)鎮(zhen)(zhen)(zhen)二(er)(er)簧(huang)(huang)的(de)演(yan)(yan)(yan)出(chu)(chu)隊伍。二(er)(er)十世紀(ji)二(er)(er)、三(san)十年代(dai)，二(er)(er)簧(huang)(huang)戲繼續發展，出(chu)(chu)現的(de)班(ban)(ban)(ban)(ban)(ban)社有柞(zuo)水縣(xian)(xian)(xian)(xian)(xian)北(bei)河(he)代(dai)大(da)(da)爺班(ban)(ban)(ban)(ban)(ban)，商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)城內(nei)孔海山(shan)的(de)商(shang)(shang)(shang)山(shan)升平(ping)(ping)社，商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)北(bei)區(qu)的(de)屈映南班(ban)(ban)(ban)(ban)(ban)，鎮(zhen)(zhen)(zhen)安(an)(an)縣(xian)(xian)(xian)(xian)(xian)城姚(yao)再(zai)勝的(de)五福班(ban)(ban)(ban)(ban)(ban)，云蓋寺的(de)安(an)(an)樂社和柞(zuo)水石鎮(zhen)(zhen)(zhen)、商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)黑龍口、韓峪川、楊斜、東鄉(xiang)等(deng)(deng)地(di)(di)的(de)二(er)(er)簧(huang)(huang)班(ban)(ban)(ban)(ban)(ban)，共(gong)十余(yu)個。藝(yi)人有代(dai)大(da)(da)爺班(ban)(ban)(ban)(ban)(ban)的(de)劉(liu)五燕（紅(hong)生(sheng)(sheng)、武(wu)旦(dan)）、張志富（二(er)(er)凈(jing)）、朱長福（外）、龔金(jin)娃(wa)（末(mo)）等(deng)(deng)，五福班(ban)(ban)(ban)(ban)(ban)的(de)尹榮山(shan)（凈(jing)）、董興平(ping)(ping)（旦(dan)）、金(jin)雙慶(qing)（生(sheng)(sheng)）、雷(lei)鳴震（生(sheng)(sheng)）等(deng)(deng)，安(an)(an)樂社的(de)羅福娃(wa)、陳(chen)大(da)(da)炮、劉(liu)子勝（生(sheng)(sheng)）、張長生(sheng)(sheng)（丑）、高志海（旦(dan)）等(deng)(deng)，商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)、山(shan)陽、柞(zuo)水縣(xian)(xian)(xian)(xian)(xian)各班(ban)(ban)(ban)(ban)(ban)的(de)李保林、王廣(guang)翠、陳(chen)剛娃(wa)、黃亮子、呂慶(qing)華(hua)(hua)、張慶(qing)鴻等(deng)(deng)。演(yan)(yan)(yan)出(chu)(chu)的(de)劇(ju)目主要(yao)有《斬黃袍(pao)》《天(tian)水關》《端(duan)午門》《受禪臺(tai)》《天(tian)才吃(chi)饃》《南北(bei)會》《洪羊洞》《白門樓(lou)(lou)》《清河(he)橋(qiao)》《大(da)(da)開(kai)榜》《元宵(xiao)謎》《梵王宮(gong)》《漁(yu)舟配》《鼓滾劉(liu)封》《雙投唐》《草橋(qiao)關》《月明樓(lou)(lou)》《望兒樓(lou)(lou)》等(deng)(deng)。抗(kang)日戰(zhan)(zhan)爭期(qi)間(jian)，洛(luo)鎮(zhen)(zhen)(zhen)漢調二(er)(er)簧(huang)(huang)呈(cheng)現蕭條之(zhi)勢，不少班(ban)(ban)(ban)(ban)(ban)社解(jie)體。至抗(kang)日戰(zhan)(zhan)爭末(mo)期(qi)，只有柞(zuo)水抗(kang)建(jian)(jian)劇(ju)團(tuan)(tuan)、鎮(zhen)(zhen)(zhen)安(an)(an)三(san)勝班(ban)(ban)(ban)(ban)(ban)等(deng)(deng)還在(zai)演(yan)(yan)(yan)出(chu)(chu)。中華(hua)(hua)人民共(gong)和國成立后(hou)，1955年5月以(yi)大(da)(da)同社和抗(kang)建(jian)(jian)劇(ju)團(tuan)(tuan)為基礎建(jian)(jian)立了(le)商(shang)(shang)(shang)洛(luo)新生(sheng)(sheng)劇(ju)團(tuan)(tuan)，1956年秋，鎮(zhen)(zhen)(zhen)安(an)(an)縣(xian)(xian)(xian)(xian)(xian)以(yi)三(san)勝班(ban)(ban)(ban)(ban)(ban)為基礎組建(jian)(jian)了(le)群眾劇(ju)團(tuan)(tuan)。1957年后(hou)又(you)相繼組建(jian)(jian)成立了(le)山(shan)陽縣(xian)(xian)(xian)(xian)(xian)和鎮(zhen)(zhen)(zhen)安(an)(an)縣(xian)(xian)(xian)(xian)(xian)兩(liang)個縣(xian)(xian)(xian)(xian)(xian)級(ji)專業(ye)漢劇(ju)團(tuan)(tuan)，經常于本縣(xian)(xian)(xian)(xian)(xian)及商(shang)(shang)(shang)縣(xian)(xian)(xian)(xian)(xian)、洛(luo)南、丹鳳等(deng)(deng)地(di)(di)巡回演(yan)(yan)(yan)出(chu)(chu)。并(bing)招收學員，培養(yang)出(chu)(chu)武(wu)新艾等(deng)(deng)一批演(yan)(yan)(yan)員。

傳承保護

傳承價值

經研究認(ren)定(ding)，漢調二簧形成(cheng)較早，各地其他皮簧聲腔劇(ju)(ju)種都(dou)與之存在(zai)淵源關(guan)系，它對川劇(ju)(ju)、徽(hui)劇(ju)(ju)、京劇(ju)(ju)等的形成(cheng)和發展有著不可忽略的影響。

傳承現狀

如今，漢調二簧觀眾銳減，經濟上出現(xian)困難，不斷走向衰落，專業劇(ju)團(tuan)紛(fen)紛(fen)解散，僅剩(sheng)下(xia)安康漢濱區一個劇(ju)團(tuan)還在(zai)維持演出，而且(qie)這個惟一的(de)劇(ju)團(tuan)也正瀕(bin)臨(lin)解散的(de)危(wei)機。在(zai)此情勢下(xia)，有必要(yao)大聲呼(hu)吁，應(ying)該盡快(kuai)對這一古老劇(ju)種進(jin)行搶救和保護(hu)。

傳承人物

龔(gong)尚武(wu)，男(nan)，漢(han)族，1937年生，陜西漢(han)陰人(ren)(ren)，第二(er)批國家級非物質文化(hua)遺產項目漢(han)調二(er)簧代表性(xing)傳承人(ren)(ren)。

王發(fa)蕓，女，漢(han)族，1941年(nian)生，陜西(xi)安康人，國(guo)家二(er)級演員(yuan)，第二(er)批國(guo)家級非物質文(wen)化遺產項目漢(han)調二(er)簧代表性(xing)傳承(cheng)人。

保護措施

1956年，陜西省(sheng)文化局及陜西省(sheng)劇目(mu)工作室在安康設立專(zhuan)區戲(xi)曲發掘(jue)組，全面組織二(er)黃老藝人(ren)們口(kou)述(shu)傳(chuan)代輩份(fen)、班社(she)來往和源流沿革；以及迄今對古戲(xi)樓遺存至今的班社(she)壁題留字。

2019年11月，《國家(jia)級非(fei)物質文(wen)化遺產(chan)代表(biao)性項目(mu)保(bao)(bao)護單(dan)(dan)位(wei)名(ming)單(dan)(dan)》公布(bu)，安康市群眾藝術館、竹溪縣山二黃劇種保(bao)(bao)護傳承展演中心獲得(de)“漢調二簧”項目(mu)保(bao)(bao)護單(dan)(dan)位(wei)資格(ge)。

社會影響

重要演出

1981年，陜西(xi)省文化廳在(zai)安康舉(ju)辦“陜西(xi)省首屆漢劇會演(yan)”，陜南(nan)地區有十余(yu)個專業劇團參加演(yan)出(chu)，出(chu)現了空前繁榮的局面(mian)。

2015年(nian)10月(yue)16日晚，為喜迎(ying)“第十一屆中國文化藝術節”倒計時一周年(nian)，由寧陜縣文廣局主(zhu)辦、廣貨街鎮(zhen)沙溝漢劇自樂班社承辦的(de)漢調(diao)二黃(huang)專場演(yan)出在寧陜縣電(dian)影(ying)院精(jing)彩(cai)上演(yan)。

榮譽表彰

2012年，平(ping)利縣選送(song)的(de)漢調二黃(huang)戲《八(ba)仙(xian)游八(ba)仙(xian)》在首屆漢調二黃(huang)自樂班社擂臺賽(sai)中榮獲一(yi)等獎(jiang)。