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歷史淵源

漢(han)(han)(han)(han)(han)調(diao)二(er)簧(huang)(huang)系(xi)板腔(qiang)體，以(yi)(yi)二(er)簧(huang)(huang)、西(xi)(xi)皮(pi)(pi)為主要聲腔(qiang)，屬(shu)“皮(pi)(pi)簧(huang)(huang)腔(qiang)系(xi)”劇(ju)種。二(er)簧(huang)(huang)、西(xi)(xi)皮(pi)(pi)為兩種不同的腔(qiang)調(diao)。其腔(qiang)調(diao)考原(yuan)至今(jin)亦為諸說(shuo)并存(cun)。一(yi)般認為，西(xi)(xi)皮(pi)(pi)調(diao)源(yuan)于陜(shan)、甘一(yi)帶、即“西(xi)(xi)皮(pi)(pi)本甘肅腔(qiang)、所(suo)用以(yi)(yi)托腔(qiang)者(zhe)為胡(hu)琴(qin)(qin)(qin)、為月琴(qin)(qin)(qin)、故日琴(qin)(qin)(qin)腔(qiang)、西(xi)(xi)秦(qin)腔(qiang)”“明末已(yi)流(liu)行(xing)內地’’之(zhi)說(shuo)。二(er)簧(huang)(huang)調(diao)之(zhi)源(yuan)，一(yi)說(shuo)陜(shan)西(xi)(xi)土生(sheng)土長，屬(shu)秦(qin)聲古調(diao)之(zhi)一(yi)種，在(zai)漢(han)(han)(han)(han)(han)水(shui)流(liu)域發展(zhan)成長，是為“漢(han)(han)(han)(han)(han)調(diao)”、“漢(han)(han)(han)(han)(han)二(er)簧(huang)(huang)”、“西(xi)(xi)曲二(er)簧(huang)(huang)”；一(yi)說(shuo)漢(han)(han)(han)(han)(han)劉邦屯(tun)兵漢(han)(han)(han)(han)(han)中時，將(jiang)漢(han)(han)(han)(han)(han)水(shui)中上游民歌作(zuo)軍(jun)謠，后帶入關中制(zhi)于樂(le)府，集秦(qin)楚(chu)樂(le)工傳(chuan)唱，因別于楚(chu)、秦(qin)樂(le)及(ji)西(xi)(xi)域龜茲樂(le)而(er)稱(cheng)漢(han)(han)(han)(han)(han)調(diao)、秦(qin)聲；一(yi)說(shuo)源(yuan)自唐代簧(huang)(huang)幡綽所(suo)創(chuang)“簧(huang)(huang)冠體”而(er)得名二(er)簧(huang)(huang)，即“梨園法曲說(shuo)”；一(yi)說(shuo)由(you)“徽調(diao)”、“四平調(diao)”衍變；一(yi)說(shuo)“起于江右(you)”，系(xi)“弋陽腔(qiang)”派生(sheng)，或“西(xi)(xi)秦(qin)腔(qiang)”傳(chuan)入江西(xi)(xi)，改竹笛、嗩吶為胡(hu)琴(qin)(qin)(qin)伴奏變成二(er)簧(huang)(huang)等。西(xi)(xi)皮(pi)(pi)、二(er)簧(huang)(huang)西(xi)(xi)調(diao)合(he)流(liu)演變的眾(zhong)說(shuo)中，多認為明末清初(chu)，在(zai)漢(han)(han)(han)(han)(han)水(shui)流(liu)域合(he)成，先自漢(han)(han)(han)(han)(han)水(shui)中上游順流(liu)東(dong)下(xia)荊、襄、武漢(han)(han)(han)(han)(han)得以(yi)(yi)發展(zhan)，又(you)溯水(shui)洄流(liu)漢(han)(han)(han)(han)(han)水(shui)中上游一(yi)帶。

文化特征

角色行當

漢(han)調二(er)簧(huang)在發展中曾形成安康、漢(han)中、商雒、關中等流派，名(ming)角(jiao)層出不窮。其腳色共分(fen)末、凈(jing)、生、旦、丑、外、小(xiao)、貼、老、雜十個行(xing)當，表演講究細膩(ni)精到，唱(chang)腔真(zhen)假(jia)嗓(sang)并用(yong)，悠揚婉轉。生、老旦一般(ban)用(yong)真(zhen)聲演唱(chang)，旦用(yong)假(jia)聲演唱(chang)，凈(jing)則使(shi)用(yong)虎音。其唱(chang)腔以西皮、二(er)簧(huang)為(wei)主，西皮用(yong)于表現愉快(kuai)、爽朗的情緒(xu)和場面，二(er)簧(huang)用(yong)于表現悲(bei)哀、肅(su)穆的情緒(xu)和場面，演唱(chang)中根據(ju)劇情需(xu)要交替使(shi)用(yong)，形成甜(tian)音、苦(ku)音之分(fen)。

唱腔

漢調(diao)(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)(er)簧(huang)(huang)(huang)唱(chang)(chang)(chang)(chang)腔(qiang)分二(er)(er)(er)(er)簧(huang)(huang)(huang)調(diao)(diao)(diao)(diao)(diao)(diao)和西(xi)(xi)皮(pi)(pi)調(diao)(diao)(diao)(diao)(diao)(diao)兩種(zhong)，俗稱(cheng)二(er)(er)(er)(er)簧(huang)(huang)(huang)為“上(shang)(shang)把”，曲(qu)調(diao)(diao)(diao)(diao)(diao)(diao)唱(chang)(chang)(chang)(chang)法(fa)上(shang)(shang)講究板(ban)起(qi)板(ban)落(luo)，用(yong)(yong)(yong)“頂牙(ya)子”開口(kou)(kou)。板(ban)式有(you)【導板(ban)】、【慢三眼】等十二(er)(er)(er)(er)種(zhong)。西(xi)(xi)皮(pi)(pi)調(diao)(diao)(diao)(diao)(diao)(diao)稱(cheng)“下把”，唱(chang)(chang)(chang)(chang)法(fa)上(shang)(shang)眼起(qi)板(ban)落(luo)，用(yong)(yong)(yong)“過牙(ya)子”開口(kou)(kou)。板(ban)式有(you)【導板(ban)】、【一(yi)字(zi)】等十種(zhong)。二(er)(er)(er)(er)簧(huang)(huang)(huang)的(de)(de)反(fan)調(diao)(diao)(diao)(diao)(diao)(diao)稱(cheng)反(fan)二(er)(er)(er)(er)簧(huang)(huang)(huang)（陽板(ban)），西(xi)(xi)皮(pi)(pi)反(fan)調(diao)(diao)(diao)(diao)(diao)(diao)稱(cheng)反(fan)西(xi)(xi)皮(pi)(pi)。另外，還有(you)高撥子、四平調(diao)(diao)(diao)(diao)(diao)(diao)、徽調(diao)(diao)(diao)(diao)(diao)(diao)、昆腔(qiang)、板(ban)兒腔(qiang)、吹(chui)腔(qiang)、高腔(qiang)、看(kan)山腔(qiang)等雜腔(qiang)雜調(diao)(diao)(diao)(diao)(diao)(diao)。如《牧虎關(guan)》高旺，《三搜府(fu)》施公皆用(yong)(yong)(yong)徽調(diao)(diao)(diao)(diao)(diao)(diao)演唱(chang)(chang)(chang)(chang)；《大賜(si)福》、《過二(er)(er)(er)(er)關(guan)》等全用(yong)(yong)(yong)昆曲(qu)演唱(chang)(chang)(chang)(chang)；《下河東》用(yong)(yong)(yong)吹(chui)腔(qiang)（嗩(suo)吶調(diao)(diao)(diao)(diao)(diao)(diao)）演唱(chang)(chang)(chang)(chang)；《釘缸》用(yong)(yong)(yong)七(qi)句半(ban)演唱(chang)(chang)(chang)(chang)；《小(xiao)放牛》用(yong)(yong)(yong)小(xiao)調(diao)(diao)(diao)(diao)(diao)(diao)演唱(chang)(chang)(chang)(chang)等。把西(xi)(xi)皮(pi)(pi)【一(yi)字(zi)】和【二(er)(er)(er)(er)六】唱(chang)(chang)(chang)(chang)調(diao)(diao)(diao)(diao)(diao)(diao)的(de)(de)過門重復(fu)一(yi)遍(bian)叫(jiao)做“雙環環”，是洛鎮二(er)(er)(er)(er)簧(huang)(huang)(huang)的(de)(de)一(yi)大特色。整個曲(qu)調(diao)(diao)(diao)(diao)(diao)(diao)委婉不(bu)足，質樸(pu)有(you)余(yu)，故有(you)“硬腔(qiang)”之(zhi)(zhi)說。二(er)(er)(er)(er)簧(huang)(huang)(huang)戲中，有(you)二(er)(er)(er)(er)簧(huang)(huang)(huang)或(huo)西(xi)(xi)皮(pi)(pi)一(yi)調(diao)(diao)(diao)(diao)(diao)(diao)到底的(de)(de)，也(ye)有(you)兩種(zhong)曲(qu)調(diao)(diao)(diao)(diao)(diao)(diao)交替使用(yong)(yong)(yong)的(de)(de)。有(you)的(de)(de)上(shang)(shang)句唱(chang)(chang)(chang)(chang)二(er)(er)(er)(er)簧(huang)(huang)(huang)，下句接西(xi)(xi)皮(pi)(pi)；或(huo)前半(ban)句唱(chang)(chang)(chang)(chang)二(er)(er)(er)(er)簧(huang)(huang)(huang)，后半(ban)句唱(chang)(chang)(chang)(chang)西(xi)(xi)皮(pi)(pi)。如《二(er)(er)(er)(er)進宮》“跪臣”一(yi)節，徐彥昭前半(ban)句用(yong)(yong)(yong)二(er)(er)(er)(er)簧(huang)(huang)(huang)【原(yuan)板(ban)】唱(chang)(chang)(chang)(chang)“嚇壞了(le)定(ding)國王(wang)”，楊博接“兵部侍(shi)郎”，就變成了(le)西(xi)(xi)皮(pi)(pi)【流水板(ban)】。這種(zhong)變調(diao)(diao)(diao)(diao)(diao)(diao)改(gai)板(ban)的(de)(de)“倒把”方式，是漢調(diao)(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)(er)簧(huang)(huang)(huang)聲腔(qiang)的(de)(de)特點(dian)之(zhi)(zhi)一(yi)。

伴奏樂器

伴奏樂隊的文場(chang)使用胡(hu)琴(qin)、二胡(hu)、月(yue)琴(qin)、三弦(xian)、阮、嗩吶、笛子(zi)、喇(la)叭等樂器，武(wu)場(chang)則使用牙板、梆子(zi)、暴鼓(gu)、尖鼓(gu)、鑼、鐃鈸等。漢(han)調二簧的臉(lian)譜樣(yang)式眾多，比(bi)京劇和秦腔(qiang)更為考究，收集(ji)到的有四百五十多個。

板式

唱腔(qiang)音(yin)樂中(zhong)有(you)西皮類九種板(ban)(ban)(ban)(ban)(ban)式，如【導板(ban)(ban)(ban)(ban)(ban)】【慢(man)(man)一(yi)(yi)字(zi)】【一(yi)(yi)字(zi)】【二流】【三流】【浪里(li)鉆(zhan)】【撩子(zi)】【滾白】【灑頭】；二簧類板(ban)(ban)(ban)(ban)(ban)式有(you)【導板(ban)(ban)(ban)(ban)(ban)】【回龍】【慢(man)(man)一(yi)(yi)字(zi)】【一(yi)(yi)字(zi)】【扣(kou)扣(kou)板(ban)(ban)(ban)(ban)(ban)】【平板(ban)(ban)(ban)(ban)(ban)】【浪里(li)鉆(zhan)】【撩子(zi)】八種。各(ge)種板(ban)(ban)(ban)(ban)(ban)式的起(qi)板(ban)(ban)(ban)(ban)(ban)、轉板(ban)(ban)(ban)(ban)(ban)、落板(ban)(ban)(ban)(ban)(ban)都有(you)一(yi)(yi)定(ding)規律；唱腔(qiang)也兼用一(yi)(yi)些昆曲，吹腔(qiang)和民間(jian)小(xiao)調。

代表劇目

漢(han)調(diao)二簧傳統劇(ju)目豐富(fu)，僅安康(kang)一(yi)地就有一(yi)千二百(bai)(bai)多種，已挖(wa)掘整(zheng)理出(chu)本戲(xi)420個，折子戲(xi)517個。這些劇(ju)目的題材(cai)多取(qu)自(zi)《東周列國志(zhi)》《三國演義(yi)》《封神演義(yi)》及(ji)其(qi)他歷史故(gu)事和民間傳說，其(qi)中的代表(biao)性劇(ju)目有《文姬辨琴》《胡笳十(shi)八(ba)拍(pai)》《戰(zhan)蚩尤(you)》《嘗百(bai)(bai)草》《簧天蕩》《清(qing)風亭》《二度梅》《打(da)龍棚》《梁紅(hong)玉》等。

主要分類

漢中二簧

嘉慶(qing)至(zhi)道(dao)光年(nian)(nian)間(jian)（1796—1850），楊金年(nian)(nian)在漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)西(xi)(xi)鄉開(kai)(kai)辦(ban)(ban)科班(ban)(ban)(ban)的(de)(de)出(chu)(chu)(chu)(chu)科藝(yi)術人(ren)(ren)，分(fen)赴漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)地(di)(di)搭(da)班(ban)(ban)(ban)或(huo)自行(xing)組班(ban)(ban)(ban)演(yan)(yan)出(chu)(chu)(chu)(chu)，并開(kai)(kai)科授(shou)徒。使漢(han)(han)(han)(han)(han)調(diao)二(er)(er)(er)(er)簧在漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)地(di)(di)扎下了(le)(le)根子(zi)，出(chu)(chu)(chu)(chu)現(xian)了(le)(le)職業(ye)戲(xi)(xi)班(ban)(ban)(ban)仁(ren)豐班(ban)(ban)(ban)、漢(han)(han)(han)(han)(han)榮班(ban)(ban)(ban)，于(yu)道(dao)光二(er)(er)(er)(er)十(shi)(shi)年(nian)(nian)前后(hou)(hou)(hou)(hou)，還(huan)去湖北(bei)、安(an)康(kang)等(deng)(deng)地(di)(di)演(yan)(yan)出(chu)(chu)(chu)(chu)。楊金年(nian)(nian)、查(cha)來(lai)松及張(zhang)(zhang)清(qing)壽（人(ren)(ren)稱(cheng)“活(huo)靈官”），又接辦(ban)(ban)了(le)(le)永、青長三科，培訓(xun)出(chu)(chu)(chu)(chu)的(de)(de)藝(yi)人(ren)(ren)，又分(fen)別組建(jian)起(qi)長勝、青云、永太等(deng)(deng)班(ban)(ban)(ban)，并跟(gen)班(ban)(ban)(ban)又代培出(chu)(chu)(chu)(chu)太、周、萬字(zi)輩藝(yi)人(ren)(ren)，壯(zhuang)大了(le)(le)二(er)(er)(er)(er)簧力量，形成(cheng)了(le)(le)上河調(diao)（漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)為(wei)(wei)漢(han)(han)(han)(han)(han)水(shui)上流，當(dang)(dang)地(di)(di)欲(yu)稱(cheng)上河）二(er)(er)(er)(er)簧。張(zhang)(zhang)清(qing)壽死后(hou)(hou)(hou)(hou)葬于(yu)鎮巴(ba)縣(xian)(xian)城(cheng)東北(bei)角，其第子(zi)于(yu)墳側(ce)修(xiu)建(jian)“靈官廟”一座(zuo)，廟內存有(you)張(zhang)(zhang)的(de)(de)塑(su)像，成(cheng)為(wei)(wei)后(hou)(hou)(hou)(hou)世漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)藝(yi)人(ren)(ren)祭祖(zu)之(zhi)地(di)(di)。光緒年(nian)(nian)間(jian)（1875—1908）漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)等(deng)(deng)地(di)(di)，又先后(hou)(hou)(hou)(hou)辦(ban)(ban)起(qi)了(le)(le)大同社(she)、福慶(qing)班(ban)(ban)(ban)、雙慶(qing)班(ban)(ban)(ban)等(deng)(deng)漢(han)(han)(han)(han)(han)調(diao)二(er)(er)(er)(er)簧班(ban)(ban)(ban)社(she)。光緒三十(shi)(shi)三年(nian)(nian)（1907）楊偉(wei)堂、蘇巒玉(yu)、趙某（山陽縣(xian)(xian)人(ren)(ren)）、賀(he)(he)保(bao)保(bao)（安(an)康(kang)人(ren)(ren)），合伙于(yu)南鄭(zheng)縣(xian)(xian)秦(qin)家(jia)壩大安(an)寺(si)開(kai)(kai)辦(ban)(ban)了(le)(le)天(tian)(tian)泰(tai)(tai)科班(ban)(ban)(ban)，共收(shou)學(xue)徒七十(shi)(shi)余人(ren)(ren)，為(wei)(wei)當(dang)(dang)時(shi)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)最大的(de)(de)科班(ban)(ban)(ban)。三年(nian)(nian)后(hou)(hou)(hou)(hou)，西(xi)(xi)鄉縣(xian)(xian)的(de)(de)九榮兩科班(ban)(ban)(ban)四(si)十(shi)(shi)余人(ren)(ren)被接納入天(tian)(tian)泰(tai)(tai)科班(ban)(ban)(ban)，人(ren)(ren)員多達百(bai)余人(ren)(ren)以(yi)上，曾開(kai)(kai)往四(si)川演(yan)(yan)出(chu)(chu)(chu)(chu)。宣統二(er)(er)(er)(er)年(nian)(nian)（1910）于(yu)成(cheng)都首場演(yan)(yan)出(chu)(chu)(chu)(chu)《滿床(chuang)笏》，轟(hong)動一時(shi)。至(zhi)辛(xin)亥革(ge)命后(hou)(hou)(hou)(hou)，李偉(wei)堂才率班(ban)(ban)(ban)返(fan)回(hui)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)。不久，戲(xi)(xi)箱(xiang)交由(you)鄭(zheng)天(tian)(tian)滿領(ling)管，改天(tian)(tian)泰(tai)(tai)科班(ban)(ban)(ban)為(wei)(wei)興漢(han)(han)(han)(han)(han)社(she)，成(cheng)為(wei)(wei)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)二(er)(er)(er)(er)簧的(de)(de)主(zhu)力。以(yi)后(hou)(hou)(hou)(hou)三十(shi)(shi)年(nian)(nian)間(jian)，馬(ma)天(tian)(tian)慶(qing)（領(ling)班(ban)(ban)(ban)）與(yu)王吉元、王來(lai)壽等(deng)(deng)，跟(gen)班(ban)(ban)(ban)帶(dai)徒培訓(xun)出(chu)(chu)(chu)(chu)福、耀、玉(yu)、勝等(deng)(deng)輩學(xue)員，流布漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)各(ge)縣(xian)(xian)，并組班(ban)(ban)(ban)演(yan)(yan)出(chu)(chu)(chu)(chu)，遂出(chu)(chu)(chu)(chu)現(xian)了(le)(le)寧強縣(xian)(xian)的(de)(de)賀(he)(he)斌班(ban)(ban)(ban)、胡家(jia)壩的(de)(de)趙開(kai)(kai)志班(ban)(ban)(ban)、留壩縣(xian)(xian)的(de)(de)唐安(an)榮班(ban)(ban)(ban)、德燕(yan)班(ban)(ban)(ban)等(deng)(deng)幾(ji)十(shi)(shi)個戲(xi)(xi)班(ban)(ban)(ban)，使漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)派二(er)(er)(er)(er)簧開(kai)(kai)始出(chu)(chu)(chu)(chu)現(xian)了(le)(le)盛期。抗(kang)日戰爭后(hou)(hou)(hou)(hou)期，職業(ye)班(ban)(ban)(ban)社(she)僅留有(you)蒲正華所領(ling)的(de)(de)興漢(han)(han)(han)(han)(han)社(she)，二(er)(er)(er)(er)簧戲(xi)(xi)頓(dun)呈衰(shuai)弱景況。中(zhong)(zhong)(zhong)(zhong)(zhong)華人(ren)(ren)民共和國成(cheng)立后(hou)(hou)(hou)(hou)，由(you)興漢(han)(han)(han)(han)(han)社(she)和幾(ji)個業(ye)余班(ban)(ban)(ban)人(ren)(ren)員組成(cheng)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市平民劇社(she)，后(hou)(hou)(hou)(hou)改為(wei)(wei)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市漢(han)(han)(han)(han)(han)劇團。1967年(nian)(nian)解散，1979年(nian)(nian)重新恢復。1981年(nian)(nian)與(yu)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市文(wen)工團合并，取名漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)市實驗劇團。漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)漢(han)(han)(han)(han)(han)調(diao)二(er)(er)(er)(er)簧語音接近(jin)四(si)川，唱腔具有(you)音調(diao)清(qing)新、柔婉的(de)(de)特點。主(zhu)要盛行(xing)于(yu)漢(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)、西(xi)(xi)鄉、城(cheng)固、鎮巴(ba)、勉縣(xian)(xian)等(deng)(deng)地(di)(di)。

安康二簧

自乾隆(long)(long)（1736—1795），蒿坪河二(er)(er)(er)簧乾勝班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、泰豐(feng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)出(chu)現(xian)后(hou)，至道(dao)光年(nian)間（1821—1850），又有(you)漢(han)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)（漢(han)中派(pai)）、仁豐(feng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、宜(yi)太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)相(xiang)繼演(yan)(yan)出(chu)。咸豐(feng)十年(nian)（1860）安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)籍藝(yi)(yi)人(ren)(ren)(ren)(ren)范(fan)仁寶(bao)（渾名(ming)范(fan)驢子）從(cong)湖北(bei)房縣(xian)大(da)(da)覺寺(si)(si)率(lv)領瑞仁班(ban)(ban)(ban)(ban)(ban)(ban)(ban)回安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)，于城(cheng)內三(san)義廟(miao)搭臺售票(piao)演(yan)(yan)出(chu)，又在金堂寺(si)(si)、萬壽(shou)寺(si)(si)開(kai)科授徒(tu)，培(pei)養出(chu)瑞、彩(cai)(cai)(cai)、方、盛四科安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)(ren)(ren)。該班(ban)(ban)(ban)(ban)(ban)(ban)(ban)陣容整齊，行當(dang)齊全，其唱腔(qiang)(qiang)(qiang)雜(za)有(you)湖北(bei)民間曲(qu)調，人(ren)(ren)(ren)(ren)稱下河調，具有(you)唱腔(qiang)(qiang)(qiang)清新(xin)悅耳，表演(yan)(yan)細膩神奇(qi)的(de)(de)風(feng)格，習者(zhe)眾(zhong)多，使安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)調二(er)(er)(er)簧得(de)到(dao)(dao)(dao)了(le)長(chang)(chang)足新(xin)悅耳，表演(yan)(yan)細膩神奇(qi)的(de)(de)風(feng)格，習者(zhe)眾(zhong)多，使安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)調二(er)(er)(er)簧得(de)到(dao)(dao)(dao)了(le)長(chang)(chang)足發(fa)展。同治年(nian)間（1862—1874）出(chu)科的(de)(de)方、盛兩科藝(yi)(yi)術(shu)人(ren)(ren)(ren)(ren)，先后(hou)入關中、四川演(yan)(yan)出(chu)；瑞、彩(cai)(cai)(cai)科藝(yi)(yi)人(ren)(ren)(ren)(ren)長(chang)(chang)期(qi)駐足于安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)地(di)區，使安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)調二(er)(er)(er)簧在唱腔(qiang)(qiang)(qiang)、表演(yan)(yan)等(deng)方面發(fa)生(sheng)了(le)較大(da)(da)變化(hua)。清末民案(an)初，安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)各(ge)地(di)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社日(ri)益增多，最有(you)影響的(de)(de)為(wei)十三(san)太(tai)(tai)字班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。即金太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、福(fu)太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、鼎(ding)太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、廣太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、隆(long)(long)太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、貴太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、仁太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、榮太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、盛太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、喜太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、治太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、裕太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)德太(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。后(hou)因連年(nian)災荒，兵匪橫(heng)行，班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社紛紛解體(ti)。民國八年(nian)（1919）年(nian)安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)(yi)人(ren)(ren)(ren)(ren)凌(ling)成佑(you)，在城(cheng)防(fang)駐軍北(bei)洋第七師(shi)的(de)(de)支持下，成立了(le)漢(han)劇(ju)(ju)(ju)(ju)(ju)同心社，以安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)城(cheng)為(wei)大(da)(da)本(ben)營，于陜(shan)南漢(han)水流(liu)域各(ge)縣(xian)廟(miao)會、商(shang)會、鄉(xiang)鎮售票(piao)演(yan)(yan)出(chu)，二(er)(er)(er)簧再一次起興(xing)。出(chu)現(xian)的(de)(de)藝(yi)(yi)人(ren)(ren)(ren)(ren)有(you)青衣泰斗(dou)陳長(chang)(chang)庚，凈角(jiao)(jiao)陳天(tian)靜(jing)、知長(chang)(chang)福(fu)，花旦閻(yan)保林，丑(chou)角(jiao)(jiao)范(fan)大(da)(da)德、梁金玉(yu)，生(sheng)角(jiao)(jiao)徐茂(mao)才、黃大(da)(da)架，小生(sheng)孫玉(yu)寶(bao)、李玉(yu)喜及安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)簧第一代女(nv)藝(yi)(yi)人(ren)(ren)(ren)(ren)鐘玉(yu)鳳(feng)、郭玉(yu)蓮(lian)等(deng)。抗日(ri)戰(zhan)爭爆發(fa)后(hou)，京(jing)、滬(hu)各(ge)地(di)藝(yi)(yi)人(ren)(ren)(ren)(ren)逃至陜(shan)南，京(jing)劇(ju)(ju)(ju)(ju)(ju)、越(yue)劇(ju)(ju)(ju)(ju)(ju)、曲(qu)劇(ju)(ju)(ju)(ju)(ju)、話(hua)劇(ju)(ju)(ju)(ju)(ju)及秦(qin)腔(qiang)(qiang)(qiang)傳入安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)，安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)簧又走向(xiang)了(le)低谷。凌(ling)成佑(you)不甘(gan)現(xian)狀，在同心社開(kai)辦科班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，培(pei)養了(le)一批二(er)(er)(er)簧藝(yi)(yi)人(ren)(ren)(ren)(ren)，使安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)(er)(er)簧再度出(chu)現(xian)了(le)回升之勢。中華人(ren)(ren)(ren)(ren)民共和(he)國成立后(hou)，安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)地(di)方政府將同心社與(yu)西(xi)(xi)關自樂社合(he)并成立安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)(ju)(ju)院，先后(hou)排演(yan)(yan)了(le)《小二(er)(er)(er)黑(hei)結(jie)婚》、《窮人(ren)(ren)(ren)(ren)恨》、《九件(jian)衣》、《北(bei)京(jing)四十天(tian)》等(deng)劇(ju)(ju)(ju)(ju)(ju)目，受到(dao)(dao)(dao)觀眾(zhong)歡迎(ying)。1956年(nian)安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)(ju)(ju)院改為(wei)安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)縣(xian)漢(han)劇(ju)(ju)(ju)(ju)(ju)團(tuan)。專區各(ge)縣(xian)也先后(hou)成立起縣(xian)屬專業(ye)漢(han)劇(ju)(ju)(ju)(ju)(ju)團(tuan)，從(cong)業(ye)人(ren)(ren)(ren)(ren)員(yuan)(yuan)達三(san)百余人(ren)(ren)(ren)(ren)。1959年(nian)陜(shan)西(xi)(xi)省戲曲(qu)學校設(she)立漢(han)劇(ju)(ju)(ju)(ju)(ju)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)，為(wei)漢(han)劇(ju)(ju)(ju)(ju)(ju)培(pei)養學員(yuan)(yuan)七十五名(ming)，充實(shi)了(le)漢(han)劇(ju)(ju)(ju)(ju)(ju)新(xin)生(sheng)力量。1981年(nian)陜(shan)西(xi)(xi)省文(wen)化(hua)局于安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)舉行了(le)首屆漢(han)劇(ju)(ju)(ju)(ju)(ju)會演(yan)(yan)，名(ming)流(liu)薈萃，各(ge)呈(cheng)異彩(cai)(cai)(cai)，把二(er)(er)(er)簧戲推到(dao)(dao)(dao)一個(ge)新(xin)的(de)(de)階段。安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)調二(er)(er)(er)簧擅演(yan)(yan)文(wen)戲，唱腔(qiang)(qiang)(qiang)秀麗、委婉，主要(yao)流(liu)行安(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)、旬陽、紫陽、平利、白河、漢(han)陰、石(shi)泉(quan)等(deng)地(di)。

關中二簧

流行于西(xi)(xi)(xi)安(an)、三原(yuan)、涇(jing)陽(yang)(yang)、鳳(feng)翔(xiang)、長安(an)、藍田(tian)、周(zhou)(zhou)至(zhi)(zhi)(zhi)、戶縣(xian)、咸陽(yang)(yang)、耀縣(xian)等地。注(zhu)重唱工，劇本水(shui)詞少(shao)，正、悲劇多(duo)，曲牌、打擊(ji)樂(le)多(duo)帶秦(qin)腔風味。最(zui)得文人(ren)、商紳(shen)、旗、滿、回(hui)民和(he)軍政要人(ren)的(de)(de)喜好。嘉慶末年(nian)，漢中來字輩(bei)出(chu)(chu)科(ke)學(xue)生賀鴻生，領班(ban)(ban)往關(guan)中寶雞、虢鎮、周(zhou)(zhou)至(zhi)(zhi)(zhi)、戶縣(xian)、涇(jing)陽(yang)(yang)、三原(yuan)、富平及西(xi)(xi)(xi)安(an)南關(guan)等地演(yan)出(chu)(chu)。受(shou)其影響，涇(jing)陽(yang)(yang)、長安(an)、周(zhou)(zhou)至(zhi)(zhi)(zhi)等地，亦(yi)先后(hou)組(zu)織起(qi)二(er)(er)簧(huang)班(ban)(ban)社(she)。光緒年(nian)間（1875—1908），出(chu)(chu)現了三原(yuan)的(de)(de)清義(yi)班(ban)(ban)，涇(jing)陽(yang)(yang)吳(wu)寡婦班(ban)(ban)，并(bing)開始有坤伶清唱或(huo)掛衣登臺。吳(wu)寡婦班(ban)(ban)搜羅藝(yi)人(ren)，延聘(pin)文人(ren)修改劇本，聲(sheng)譽日增。慈(ci)禧太后(hou)逃至(zhi)(zhi)(zhi)西(xi)(xi)(xi)安(an)后(hou)，該班(ban)(ban)曾應詔承奉(feng)獻演(yan)，得到慈(ci)禧贈匾(bian)嘉獎。辛亥革(ge)命(ming)后(hou)，陜西(xi)(xi)(xi)督都張(zhang)翔(xiang)初，革(ge)命(ming)軍師(shi)長張(zhang)云(yun)山(shan)，支持(chi)在西(xi)(xi)(xi)安(an)創(chuang)辦了二(er)(er)簧(huang)鳴(ming)盛學(xue)社(she)，先后(hou)培養(yang)學(xue)員(yuan)二(er)(er)百(bai)余人(ren)，成為關(guan)中地區二(er)(er)簧(huang)的(de)(de)最(zui)大科(ke)班(ban)(ban)。教師(shi)有趙(zhao)安(an)子、吳(wu)李乾等。出(chu)(chu)科(ke)的(de)(de)演(yan)員(yuan)有山(shan)鳴(ming)歧、劉鳴(ming)祥、張(zhang)鳴(ming)峰、雷(lei)鳴(ming)震等，成為關(guan)中二(er)(er)簧(huang)的(de)(de)中堅力量，曾受(shou)聘(pin)于四川、甘肅、河南等地傳藝(yi)和(he)演(yan)出(chu)(chu)。關(guan)中二(er)(er)簧(huang)演(yan)出(chu)(chu)的(de)(de)主要劇目有《火輪牌》、《汜(si)水(shui)關(guan)》、《破桃山(shan)》、《出(chu)(chu)五關(guan)》、《過巴(ba)州》、《鎖陽(yang)(yang)城》、《四平山(shan)》等。1925年(nian)駐軍賈興運組(zu)織的(de)(de)二(er)(er)簧(huang)班(ban)(ban)，演(yan)出(chu)(chu)一時(shi)而(er)解體。1931年(nian)，藝(yi)人(ren)王安(an)奎(kui)創(chuang)辦志(zhi)義(yi)科(ke)班(ban)(ban)，培養(yang)出(chu)(chu)演(yan)員(yuan)劉志(zhi)俊、劉志(zhi)勝、馮志(zhi)才、邵志(zhi)福、董志(zhi)杰等，同時(shi)還出(chu)(chu)現有慶義(yi)社(she)和(he)中興社(she)，因難以(yi)立足西(xi)(xi)(xi)安(an)而(er)多(duo)巡回(hui)于外縣(xian)演(yan)出(chu)(chu)。1949年(nian)初，原(yuan)“鳴(ming)盛學(xue)社(she)”、“慶義(yi)社(she)”等漢調(diao)二(er)(er)簧(huang)班(ban)(ban)社(she)合并(bing)為“大眾劇社(she)”，活(huo)動三年(nian)散班(ban)(ban)。自(zi)此(ci)，關(guan)中地區再無專業二(er)(er)簧(huang)劇團，僅西(xi)(xi)(xi)安(an)、藍田(tian)、戶縣(xian)尚有二(er)(er)簧(huang)研究會，經常組(zu)織一些業余演(yan)唱活(huo)動。

洛鎮二簧

盛行(xing)于鎮(zhen)安、山(shan)陽、商(shang)縣(xian)(xian)(xian)(xian)(xian)、洛南(nan)等(deng)(deng)地。向(xiang)以武戲見(jian)長(chang)，演(yan)《八蠟廟》、《紅桃山(shan)》等(deng)(deng)劇(ju)，使用真(zhen)槍真(zhen)刀(dao)。同治、光緒年(nian)間(jian)（1862—1908），出(chu)(chu)(chu)科于漢中(zhong)西鄉(xiang)沙河坎楊金年(nian)科班(ban)(ban)(ban)(ban)的(de)(de)名(ming)藝人(ren)(ren)賀鴻(hong)生，曾從湖北(bei)(bei)、關中(zhong)往返于商(shang)洛地區傳播二(er)(er)(er)簧(huang)(huang)，培養出(chu)(chu)(chu)趙(zhao)安子(zi)、吳(wu)寶卿(qing)、演(yan)技超群，頗受觀(guan)眾(zhong)歡迎。光緒二(er)(er)(er)十(shi)(shi)四年(nian)（1898），清廷還詔趙(zhao)、吳(wu)進宮演(yan)唱。姚政班(ban)(ban)(ban)(ban)先后舉辦科班(ban)(ban)(ban)(ban)，培養出(chu)(chu)(chu)“廣(guang)(guang)”、“慶(qing)”兩科藝人(ren)(ren)五十(shi)(shi)余名(ming)，壯大了洛鎮(zhen)二(er)(er)(er)簧(huang)(huang)的(de)(de)演(yan)出(chu)(chu)(chu)隊伍。二(er)(er)(er)十(shi)(shi)世紀二(er)(er)(er)、三(san)十(shi)(shi)年(nian)代(dai)，二(er)(er)(er)簧(huang)(huang)戲繼續(xu)發展，出(chu)(chu)(chu)現的(de)(de)班(ban)(ban)(ban)(ban)社有(you)(you)柞(zuo)水(shui)縣(xian)(xian)(xian)(xian)(xian)北(bei)(bei)河代(dai)大爺班(ban)(ban)(ban)(ban)，商(shang)縣(xian)(xian)(xian)(xian)(xian)城內孔海山(shan)的(de)(de)商(shang)山(shan)升平社，商(shang)縣(xian)(xian)(xian)(xian)(xian)北(bei)(bei)區的(de)(de)屈映(ying)南(nan)班(ban)(ban)(ban)(ban)，鎮(zhen)安縣(xian)(xian)(xian)(xian)(xian)城姚再勝(sheng)(sheng)的(de)(de)五福(fu)班(ban)(ban)(ban)(ban)，云蓋寺(si)的(de)(de)安樂(le)社和(he)柞(zuo)水(shui)石鎮(zhen)、商(shang)縣(xian)(xian)(xian)(xian)(xian)黑龍口(kou)、韓峪川、楊斜、東(dong)鄉(xiang)等(deng)(deng)地的(de)(de)二(er)(er)(er)簧(huang)(huang)班(ban)(ban)(ban)(ban)，共(gong)十(shi)(shi)余個。藝人(ren)(ren)有(you)(you)代(dai)大爺班(ban)(ban)(ban)(ban)的(de)(de)劉(liu)五燕（紅生、武旦(dan)）、張志富（二(er)(er)(er)凈(jing)）、朱長(chang)福(fu)（外(wai)）、龔金娃（末）等(deng)(deng)，五福(fu)班(ban)(ban)(ban)(ban)的(de)(de)尹榮山(shan)（凈(jing)）、董興(xing)平（旦(dan)）、金雙(shuang)慶(qing)（生）、雷鳴震(zhen)（生）等(deng)(deng)，安樂(le)社的(de)(de)羅(luo)福(fu)娃、陳大炮、劉(liu)子(zi)勝(sheng)(sheng)（生）、張長(chang)生（丑）、高(gao)志海（旦(dan)）等(deng)(deng)，商(shang)縣(xian)(xian)(xian)(xian)(xian)、山(shan)陽、柞(zuo)水(shui)縣(xian)(xian)(xian)(xian)(xian)各班(ban)(ban)(ban)(ban)的(de)(de)李保林、王(wang)廣(guang)(guang)翠、陳剛娃、黃亮子(zi)、呂(lv)慶(qing)華、張慶(qing)鴻(hong)等(deng)(deng)。演(yan)出(chu)(chu)(chu)的(de)(de)劇(ju)目主要有(you)(you)《斬黃袍》《天水(shui)關》《端午門》《受禪(chan)臺》《天才吃饃(mo)》《南(nan)北(bei)(bei)會》《洪羊洞》《白門樓》《清河橋(qiao)》《大開榜》《元宵謎》《梵王(wang)宮》《漁舟配》《鼓滾(gun)劉(liu)封》《雙(shuang)投(tou)唐》《草(cao)橋(qiao)關》《月(yue)明樓》《望(wang)兒樓》等(deng)(deng)。抗(kang)日戰爭(zheng)期間(jian)，洛鎮(zhen)漢調二(er)(er)(er)簧(huang)(huang)呈現蕭條之勢，不少班(ban)(ban)(ban)(ban)社解體。至抗(kang)日戰爭(zheng)末期，只有(you)(you)柞(zuo)水(shui)抗(kang)建(jian)劇(ju)團、鎮(zhen)安三(san)勝(sheng)(sheng)班(ban)(ban)(ban)(ban)等(deng)(deng)還在演(yan)出(chu)(chu)(chu)。中(zhong)華人(ren)(ren)民(min)共(gong)和(he)國成立(li)后，1955年(nian)5月(yue)以大同社和(he)抗(kang)建(jian)劇(ju)團為基(ji)(ji)礎建(jian)立(li)了商(shang)洛新(xin)生劇(ju)團，1956年(nian)秋，鎮(zhen)安縣(xian)(xian)(xian)(xian)(xian)以三(san)勝(sheng)(sheng)班(ban)(ban)(ban)(ban)為基(ji)(ji)礎組(zu)建(jian)了群眾(zhong)劇(ju)團。1957年(nian)后又相(xiang)繼組(zu)建(jian)成立(li)了山(shan)陽縣(xian)(xian)(xian)(xian)(xian)和(he)鎮(zhen)安縣(xian)(xian)(xian)(xian)(xian)兩個縣(xian)(xian)(xian)(xian)(xian)級專業漢劇(ju)團，經常于本縣(xian)(xian)(xian)(xian)(xian)及商(shang)縣(xian)(xian)(xian)(xian)(xian)、洛南(nan)、丹鳳等(deng)(deng)地巡回演(yan)出(chu)(chu)(chu)。并招收學員(yuan)，培養出(chu)(chu)(chu)武新(xin)艾等(deng)(deng)一(yi)批演(yan)員(yuan)。

傳承保護

傳承價值

經研究(jiu)認定，漢調(diao)二簧(huang)形成(cheng)較早，各地其他(ta)皮(pi)簧(huang)聲腔(qiang)劇(ju)(ju)(ju)種都與之存在淵源關(guan)系，它對川劇(ju)(ju)(ju)、徽(hui)劇(ju)(ju)(ju)、京劇(ju)(ju)(ju)等的形成(cheng)和發(fa)展有著不可忽(hu)略的影響。

傳承現狀

如今，漢(han)調二簧觀(guan)眾銳減，經(jing)濟上(shang)出現困難，不斷(duan)走向衰落(luo)，專業劇團紛紛解(jie)散(san)，僅剩下安(an)康漢(han)濱(bin)區一個(ge)劇團還在(zai)維持演出，而且這個(ge)惟(wei)一的劇團也正(zheng)瀕臨解(jie)散(san)的危機(ji)。在(zai)此情勢下，有必要大(da)聲(sheng)呼吁，應(ying)該盡快(kuai)對這一古老劇種進行搶救和保護。

傳承人物

龔尚武，男(nan)，漢(han)(han)族，1937年生(sheng)，陜西漢(han)(han)陰人(ren)，第二批國(guo)家級非(fei)物質文(wen)化遺產項目漢(han)(han)調二簧代表性傳承人(ren)。

王發蕓，女，漢族，1941年生，陜西安康(kang)人，國(guo)家二(er)級(ji)演員，第二(er)批國(guo)家級(ji)非(fei)物質文化遺(yi)產項目(mu)漢調二(er)簧代表性傳承人。

保護措施

1956年，陜(shan)西省文化局及陜(shan)西省劇(ju)目工(gong)作(zuo)室在(zai)安康設立(li)專(zhuan)區戲曲(qu)發掘組(zu)，全(quan)面組(zu)織(zhi)二(er)黃老藝人(ren)們(men)口(kou)述傳代輩份、班社來往和源流(liu)沿革；以及迄今對古戲樓遺存至今的班社壁題留字。

2019年11月(yue)，《國家級非物質文化遺產代表性項目(mu)保護(hu)(hu)單(dan)位名(ming)單(dan)》公布，安康市群眾藝術館(guan)、竹(zhu)溪縣山二(er)黃劇種保護(hu)(hu)傳承展演(yan)中心獲得(de)“漢調二(er)簧”項目(mu)保護(hu)(hu)單(dan)位資格。

社會影響

重要演出

1981年，陜西省文化廳在安康舉(ju)辦“陜西省首屆漢劇會演(yan)”，陜南地區(qu)有十余個專業劇團(tuan)參加演(yan)出(chu)，出(chu)現了空前繁榮的局(ju)面(mian)。

2015年(nian)10月16日(ri)晚，為喜迎“第(di)十一(yi)(yi)屆中國文化藝術節”倒計時一(yi)(yi)周年(nian)，由(you)寧(ning)陜縣文廣(guang)局主辦、廣(guang)貨(huo)街鎮沙溝(gou)漢(han)劇自樂(le)班(ban)社承辦的(de)漢(han)調二(er)黃專(zhuan)場(chang)演出在(zai)寧(ning)陜縣電影院精彩上(shang)演。

榮譽表彰

2012年，平利(li)縣選(xuan)送的漢調(diao)二(er)黃(huang)戲(xi)《八(ba)仙(xian)游八(ba)仙(xian)》在(zai)首(shou)屆漢調(diao)二(er)黃(huang)自樂班社擂臺賽中榮獲一等獎。

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