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歷史淵源

漢(han)(han)調(diao)(diao)(diao)(diao)(diao)二(er)簧系(xi)板腔(qiang)(qiang)體(ti)(ti)，以(yi)二(er)簧、西(xi)(xi)(xi)皮(pi)為(wei)主要聲(sheng)(sheng)腔(qiang)(qiang)，屬(shu)“皮(pi)簧腔(qiang)(qiang)系(xi)”劇種。二(er)簧、西(xi)(xi)(xi)皮(pi)為(wei)兩種不同的腔(qiang)(qiang)調(diao)(diao)(diao)(diao)(diao)。其(qi)腔(qiang)(qiang)調(diao)(diao)(diao)(diao)(diao)考(kao)原(yuan)至今亦為(wei)諸說并存。一般認為(wei)，西(xi)(xi)(xi)皮(pi)調(diao)(diao)(diao)(diao)(diao)源(yuan)(yuan)于陜、甘一帶(dai)、即“西(xi)(xi)(xi)皮(pi)本甘肅腔(qiang)(qiang)、所(suo)用以(yi)托(tuo)腔(qiang)(qiang)者為(wei)胡(hu)琴(qin)、為(wei)月琴(qin)、故日琴(qin)腔(qiang)(qiang)、西(xi)(xi)(xi)秦(qin)腔(qiang)(qiang)”“明末已(yi)流行內地(di)’’之說。二(er)簧調(diao)(diao)(diao)(diao)(diao)之源(yuan)(yuan)，一說陜西(xi)(xi)(xi)土生土長，屬(shu)秦(qin)聲(sheng)(sheng)古調(diao)(diao)(diao)(diao)(diao)之一種，在漢(han)(han)水流域發展(zhan)成長，是為(wei)“漢(han)(han)調(diao)(diao)(diao)(diao)(diao)”、“漢(han)(han)二(er)簧”、“西(xi)(xi)(xi)曲二(er)簧”；一說漢(han)(han)劉(liu)邦屯(tun)兵漢(han)(han)中時，將漢(han)(han)水中上(shang)(shang)游(you)民歌作軍謠，后帶(dai)入關中制于樂府，集(ji)秦(qin)楚樂工(gong)傳(chuan)唱(chang)，因別于楚、秦(qin)樂及西(xi)(xi)(xi)域龜茲樂而(er)(er)稱漢(han)(han)調(diao)(diao)(diao)(diao)(diao)、秦(qin)聲(sheng)(sheng)；一說源(yuan)(yuan)自唐(tang)代簧幡綽所(suo)創“簧冠(guan)體(ti)(ti)”而(er)(er)得名二(er)簧，即“梨園法(fa)曲說”；一說由“徽調(diao)(diao)(diao)(diao)(diao)”、“四平(ping)調(diao)(diao)(diao)(diao)(diao)”衍(yan)變；一說“起于江(jiang)右”，系(xi)“弋陽腔(qiang)(qiang)”派生，或“西(xi)(xi)(xi)秦(qin)腔(qiang)(qiang)”傳(chuan)入江(jiang)西(xi)(xi)(xi)，改(gai)竹笛、嗩吶為(wei)胡(hu)琴(qin)伴奏變成二(er)簧等。西(xi)(xi)(xi)皮(pi)、二(er)簧西(xi)(xi)(xi)調(diao)(diao)(diao)(diao)(diao)合流演變的眾說中，多認為(wei)明末清(qing)初(chu)，在漢(han)(han)水流域合成，先自漢(han)(han)水中上(shang)(shang)游(you)順流東下(xia)荊、襄、武漢(han)(han)得以(yi)發展(zhan)，又溯水洄流漢(han)(han)水中上(shang)(shang)游(you)一帶(dai)。

文化特征

角色行當

漢調二簧(huang)在發展(zhan)中(zhong)(zhong)曾形成(cheng)安康、漢中(zhong)(zhong)、商雒、關(guan)中(zhong)(zhong)等流派，名角層出不窮。其腳色(se)共分末(mo)、凈、生(sheng)(sheng)、旦(dan)(dan)、丑、外、小、貼(tie)、老(lao)、雜十(shi)個行當，表(biao)(biao)演講(jiang)究(jiu)細膩精(jing)到，唱(chang)(chang)(chang)腔(qiang)真假(jia)嗓并用，悠揚婉轉。生(sheng)(sheng)、老(lao)旦(dan)(dan)一般(ban)用真聲演唱(chang)(chang)(chang)，旦(dan)(dan)用假(jia)聲演唱(chang)(chang)(chang)，凈則使用虎音。其唱(chang)(chang)(chang)腔(qiang)以西皮、二簧(huang)為主，西皮用于(yu)表(biao)(biao)現愉(yu)快、爽朗的情緒(xu)和場面(mian)，二簧(huang)用于(yu)表(biao)(biao)現悲哀、肅穆的情緒(xu)和場面(mian)，演唱(chang)(chang)(chang)中(zhong)(zhong)根據劇情需(xu)要交(jiao)替使用，形成(cheng)甜音、苦音之分。

唱腔

漢(han)調(diao)(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)唱(chang)腔(qiang)(qiang)分二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)調(diao)(diao)(diao)(diao)(diao)(diao)和(he)西(xi)皮(pi)調(diao)(diao)(diao)(diao)(diao)(diao)兩(liang)種(zhong)(zhong)，俗(su)稱二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)為“上(shang)把(ba)(ba)”，曲調(diao)(diao)(diao)(diao)(diao)(diao)唱(chang)法上(shang)講究板(ban)(ban)(ban)(ban)起板(ban)(ban)(ban)(ban)落(luo)，用(yong)(yong)(yong)“頂牙子(zi)”開口(kou)。板(ban)(ban)(ban)(ban)式有(you)【導(dao)板(ban)(ban)(ban)(ban)】、【慢三眼】等十二(er)(er)(er)(er)種(zhong)(zhong)。西(xi)皮(pi)調(diao)(diao)(diao)(diao)(diao)(diao)稱“下(xia)(xia)把(ba)(ba)”，唱(chang)法上(shang)眼起板(ban)(ban)(ban)(ban)落(luo)，用(yong)(yong)(yong)“過牙子(zi)”開口(kou)。板(ban)(ban)(ban)(ban)式有(you)【導(dao)板(ban)(ban)(ban)(ban)】、【一(yi)(yi)字】等十種(zhong)(zhong)。二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)的(de)反(fan)調(diao)(diao)(diao)(diao)(diao)(diao)稱反(fan)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)（陽板(ban)(ban)(ban)(ban)），西(xi)皮(pi)反(fan)調(diao)(diao)(diao)(diao)(diao)(diao)稱反(fan)西(xi)皮(pi)。另(ling)外，還(huan)有(you)高(gao)撥子(zi)、四平調(diao)(diao)(diao)(diao)(diao)(diao)、徽調(diao)(diao)(diao)(diao)(diao)(diao)、昆腔(qiang)(qiang)、板(ban)(ban)(ban)(ban)兒(er)腔(qiang)(qiang)、吹腔(qiang)(qiang)、高(gao)腔(qiang)(qiang)、看山腔(qiang)(qiang)等雜(za)腔(qiang)(qiang)雜(za)調(diao)(diao)(diao)(diao)(diao)(diao)。如《牧虎關(guan)》高(gao)旺，《三搜府》施(shi)公皆用(yong)(yong)(yong)徽調(diao)(diao)(diao)(diao)(diao)(diao)演唱(chang)；《大賜(si)福》、《過二(er)(er)(er)(er)關(guan)》等全用(yong)(yong)(yong)昆曲演唱(chang)；《下(xia)(xia)河東(dong)》用(yong)(yong)(yong)吹腔(qiang)(qiang)（嗩吶(na)調(diao)(diao)(diao)(diao)(diao)(diao)）演唱(chang)；《釘缸(gang)》用(yong)(yong)(yong)七句半演唱(chang)；《小放牛》用(yong)(yong)(yong)小調(diao)(diao)(diao)(diao)(diao)(diao)演唱(chang)等。把(ba)(ba)西(xi)皮(pi)【一(yi)(yi)字】和(he)【二(er)(er)(er)(er)六】唱(chang)調(diao)(diao)(diao)(diao)(diao)(diao)的(de)過門(men)重復一(yi)(yi)遍叫做“雙環(huan)環(huan)”，是(shi)(shi)洛鎮二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)的(de)一(yi)(yi)大特色。整(zheng)個曲調(diao)(diao)(diao)(diao)(diao)(diao)委(wei)婉不(bu)足，質樸有(you)余，故有(you)“硬(ying)腔(qiang)(qiang)”之說。二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)戲中(zhong)，有(you)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)或(huo)西(xi)皮(pi)一(yi)(yi)調(diao)(diao)(diao)(diao)(diao)(diao)到底(di)的(de)，也有(you)兩(liang)種(zhong)(zhong)曲調(diao)(diao)(diao)(diao)(diao)(diao)交替使(shi)用(yong)(yong)(yong)的(de)。有(you)的(de)上(shang)句唱(chang)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)，下(xia)(xia)句接西(xi)皮(pi)；或(huo)前(qian)半句唱(chang)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)，后半句唱(chang)西(xi)皮(pi)。如《二(er)(er)(er)(er)進宮》“跪臣(chen)”一(yi)(yi)節(jie)，徐彥昭前(qian)半句用(yong)(yong)(yong)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)【原板(ban)(ban)(ban)(ban)】唱(chang)“嚇壞了定國王”，楊博接“兵部侍郎”，就(jiu)變(bian)(bian)成了西(xi)皮(pi)【流水板(ban)(ban)(ban)(ban)】。這種(zhong)(zhong)變(bian)(bian)調(diao)(diao)(diao)(diao)(diao)(diao)改板(ban)(ban)(ban)(ban)的(de)“倒把(ba)(ba)”方式，是(shi)(shi)漢(han)調(diao)(diao)(diao)(diao)(diao)(diao)二(er)(er)(er)(er)簧(huang)(huang)(huang)(huang)聲腔(qiang)(qiang)的(de)特點之一(yi)(yi)。

伴奏樂器

伴(ban)奏(zou)樂隊的(de)(de)文場使用胡琴、二胡、月琴、三(san)弦、阮、嗩吶、笛子、喇叭(ba)等樂器(qi)，武場則使用牙(ya)板、梆(bang)子、暴鼓、尖鼓、鑼、鐃鈸等。漢(han)調二簧的(de)(de)臉(lian)譜樣式眾多，比(bi)京劇和秦腔更為考究，收集到的(de)(de)有四(si)百五十多個。

板式

唱(chang)(chang)腔(qiang)音(yin)樂中有西皮類九種板(ban)(ban)(ban)式，如(ru)【導(dao)板(ban)(ban)(ban)】【慢一字(zi)】【一字(zi)】【二(er)流(liu)】【三流(liu)】【浪里(li)鉆】【撩子(zi)】【滾白】【灑頭】；二(er)簧類板(ban)(ban)(ban)式有【導(dao)板(ban)(ban)(ban)】【回龍】【慢一字(zi)】【一字(zi)】【扣(kou)扣(kou)板(ban)(ban)(ban)】【平板(ban)(ban)(ban)】【浪里(li)鉆】【撩子(zi)】八種。各種板(ban)(ban)(ban)式的起板(ban)(ban)(ban)、轉(zhuan)板(ban)(ban)(ban)、落板(ban)(ban)(ban)都有一定規律；唱(chang)(chang)腔(qiang)也兼(jian)用一些昆(kun)曲，吹腔(qiang)和民間小調(diao)。

代表劇目

漢調二簧(huang)傳(chuan)統(tong)劇目豐富，僅安康一地就(jiu)有一千二百(bai)多(duo)種，已挖掘整理(li)出本戲(xi)(xi)420個，折(zhe)子戲(xi)(xi)517個。這些劇目的題材多(duo)取自《東(dong)周列國志》《三國演(yan)義》《封(feng)神(shen)演(yan)義》及其(qi)他歷史故事和民間傳(chuan)說，其(qi)中的代表性劇目有《文姬辨琴》《胡笳十(shi)八拍》《戰(zhan)蚩尤》《嘗百(bai)草(cao)》《簧(huang)天蕩(dang)》《清風亭(ting)》《二度梅》《打龍(long)棚》《梁紅玉》等(deng)。

主要分類

漢中二簧

嘉慶(qing)(qing)至道(dao)光年(nian)間（1796—1850），楊金年(nian)在(zai)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)西(xi)(xi)鄉開(kai)辦科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)的(de)(de)(de)(de)(de)出(chu)(chu)(chu)(chu)科(ke)(ke)(ke)(ke)藝術人(ren)(ren)，分赴漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)各地(di)(di)搭班(ban)(ban)(ban)或自行組(zu)(zu)班(ban)(ban)(ban)演(yan)(yan)出(chu)(chu)(chu)(chu)，并(bing)開(kai)科(ke)(ke)(ke)(ke)授徒(tu)。使(shi)漢(han)(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)簧(huang)(huang)在(zai)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)各地(di)(di)扎下了(le)(le)(le)根子(zi)，出(chu)(chu)(chu)(chu)現了(le)(le)(le)職業(ye)戲(xi)班(ban)(ban)(ban)仁豐班(ban)(ban)(ban)、漢(han)(han)(han)(han)(han)(han)(han)榮(rong)班(ban)(ban)(ban)，于(yu)(yu)道(dao)光二(er)(er)(er)十年(nian)前后(hou)，還(huan)去湖北、安(an)康等(deng)(deng)地(di)(di)演(yan)(yan)出(chu)(chu)(chu)(chu)。楊金年(nian)、查來(lai)松及張清(qing)(qing)壽（人(ren)(ren)稱(cheng)“活靈(ling)官”），又接辦了(le)(le)(le)永(yong)、青長三(san)科(ke)(ke)(ke)(ke)，培(pei)訓(xun)出(chu)(chu)(chu)(chu)的(de)(de)(de)(de)(de)藝人(ren)(ren)，又分別組(zu)(zu)建(jian)起(qi)長勝、青云、永(yong)太(tai)等(deng)(deng)班(ban)(ban)(ban)，并(bing)跟班(ban)(ban)(ban)又代(dai)培(pei)出(chu)(chu)(chu)(chu)太(tai)、周、萬字輩藝人(ren)(ren)，壯大(da)了(le)(le)(le)二(er)(er)(er)簧(huang)(huang)力量，形成(cheng)(cheng)了(le)(le)(le)上河調(diao)(diao)（漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)為漢(han)(han)(han)(han)(han)(han)(han)水(shui)上流，當地(di)(di)欲稱(cheng)上河）二(er)(er)(er)簧(huang)(huang)。張清(qing)(qing)壽死后(hou)葬于(yu)(yu)鎮(zhen)巴縣城東北角，其第子(zi)于(yu)(yu)墳(fen)側修(xiu)建(jian)“靈(ling)官廟”一(yi)座(zuo)，廟內存有(you)張的(de)(de)(de)(de)(de)塑(su)像，成(cheng)(cheng)為后(hou)世漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)藝人(ren)(ren)祭祖之地(di)(di)。光緒(xu)年(nian)間（1875—1908）漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)、南鄭(zheng)等(deng)(deng)地(di)(di)，又先(xian)后(hou)辦起(qi)了(le)(le)(le)大(da)同社、福慶(qing)(qing)班(ban)(ban)(ban)、雙慶(qing)(qing)班(ban)(ban)(ban)等(deng)(deng)漢(han)(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)簧(huang)(huang)班(ban)(ban)(ban)社。光緒(xu)三(san)十三(san)年(nian)（1907）楊偉堂、蘇巒玉、趙某（山陽縣人(ren)(ren)）、賀保保（安(an)康人(ren)(ren)），合(he)伙于(yu)(yu)南鄭(zheng)縣秦家(jia)壩(ba)大(da)安(an)寺(si)開(kai)辦了(le)(le)(le)天(tian)(tian)(tian)泰科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)，共收學徒(tu)七十余人(ren)(ren)，為當時(shi)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)最大(da)的(de)(de)(de)(de)(de)科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)。三(san)年(nian)后(hou)，西(xi)(xi)鄉縣的(de)(de)(de)(de)(de)九榮(rong)兩科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)四(si)十余人(ren)(ren)被接納入天(tian)(tian)(tian)泰科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)，人(ren)(ren)員多達(da)百余人(ren)(ren)以(yi)上，曾開(kai)往四(si)川(chuan)演(yan)(yan)出(chu)(chu)(chu)(chu)。宣統二(er)(er)(er)年(nian)（1910）于(yu)(yu)成(cheng)(cheng)都首場演(yan)(yan)出(chu)(chu)(chu)(chu)《滿床笏》，轟動(dong)一(yi)時(shi)。至辛亥革(ge)命后(hou)，李偉堂才率班(ban)(ban)(ban)返回(hui)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)。不久，戲(xi)箱交由鄭(zheng)天(tian)(tian)(tian)滿領管，改天(tian)(tian)(tian)泰科(ke)(ke)(ke)(ke)班(ban)(ban)(ban)為興漢(han)(han)(han)(han)(han)(han)(han)社，成(cheng)(cheng)為漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)二(er)(er)(er)簧(huang)(huang)的(de)(de)(de)(de)(de)主(zhu)力。以(yi)后(hou)三(san)十年(nian)間，馬天(tian)(tian)(tian)慶(qing)(qing)（領班(ban)(ban)(ban)）與王吉元、王來(lai)壽等(deng)(deng)，跟班(ban)(ban)(ban)帶徒(tu)培(pei)訓(xun)出(chu)(chu)(chu)(chu)福、耀、玉、勝等(deng)(deng)輩學員，流布漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)各縣，并(bing)組(zu)(zu)班(ban)(ban)(ban)演(yan)(yan)出(chu)(chu)(chu)(chu)，遂出(chu)(chu)(chu)(chu)現了(le)(le)(le)寧強縣的(de)(de)(de)(de)(de)賀斌班(ban)(ban)(ban)、胡家(jia)壩(ba)的(de)(de)(de)(de)(de)趙開(kai)志(zhi)班(ban)(ban)(ban)、留壩(ba)縣的(de)(de)(de)(de)(de)唐安(an)榮(rong)班(ban)(ban)(ban)、德燕班(ban)(ban)(ban)等(deng)(deng)幾十個(ge)戲(xi)班(ban)(ban)(ban)，使(shi)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)派二(er)(er)(er)簧(huang)(huang)開(kai)始出(chu)(chu)(chu)(chu)現了(le)(le)(le)盛期(qi)。抗日戰爭(zheng)后(hou)期(qi)，職業(ye)班(ban)(ban)(ban)社僅留有(you)蒲正華(hua)所領的(de)(de)(de)(de)(de)興漢(han)(han)(han)(han)(han)(han)(han)社，二(er)(er)(er)簧(huang)(huang)戲(xi)頓(dun)呈衰弱景況。中(zhong)(zhong)(zhong)華(hua)人(ren)(ren)民共和(he)國成(cheng)(cheng)立后(hou)，由興漢(han)(han)(han)(han)(han)(han)(han)社和(he)幾個(ge)業(ye)余班(ban)(ban)(ban)人(ren)(ren)員組(zu)(zu)成(cheng)(cheng)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)市(shi)平民劇社，后(hou)改為漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)市(shi)漢(han)(han)(han)(han)(han)(han)(han)劇團(tuan)(tuan)。1967年(nian)解散，1979年(nian)重(zhong)新恢復(fu)。1981年(nian)與漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)市(shi)文(wen)工團(tuan)(tuan)合(he)并(bing)，取名漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)市(shi)實驗劇團(tuan)(tuan)。漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)漢(han)(han)(han)(han)(han)(han)(han)調(diao)(diao)二(er)(er)(er)簧(huang)(huang)語音接近四(si)川(chuan)，唱腔具(ju)有(you)音調(diao)(diao)清(qing)(qing)新、柔婉的(de)(de)(de)(de)(de)特點。主(zhu)要盛行于(yu)(yu)漢(han)(han)(han)(han)(han)(han)(han)中(zhong)(zhong)(zhong)、南鄭(zheng)、西(xi)(xi)鄉、城固、鎮(zhen)巴、勉縣等(deng)(deng)地(di)(di)。

安康二簧

自(zi)乾(qian)隆(long)（1736—1795），蒿坪河二(er)簧(huang)(huang)(huang)乾(qian)勝(sheng)班(ban)(ban)(ban)、泰豐(feng)班(ban)(ban)(ban)出(chu)(chu)(chu)(chu)現(xian)后(hou)，至道光年(nian)間(jian)（1821—1850），又(you)有漢(han)(han)(han)(han)(han)榮(rong)班(ban)(ban)(ban)（漢(han)(han)(han)(han)(han)中(zhong)派）、仁(ren)豐(feng)班(ban)(ban)(ban)、宜太(tai)(tai)(tai)班(ban)(ban)(ban)相(xiang)繼演(yan)(yan)出(chu)(chu)(chu)(chu)。咸豐(feng)十(shi)年(nian)（1860）安(an)康(kang)(kang)(kang)(kang)籍藝(yi)人(ren)(ren)(ren)(ren)范仁(ren)寶（渾(hun)名范驢子）從湖北(bei)(bei)(bei)房縣(xian)大覺寺(si)率(lv)領(ling)瑞仁(ren)班(ban)(ban)(ban)回(hui)安(an)康(kang)(kang)(kang)(kang)，于城內三(san)義(yi)廟(miao)搭臺售票演(yan)(yan)出(chu)(chu)(chu)(chu)，又(you)在(zai)(zai)金(jin)(jin)堂寺(si)、萬(wan)壽寺(si)開(kai)科(ke)(ke)(ke)授徒，培養(yang)出(chu)(chu)(chu)(chu)瑞、彩、方(fang)、盛(sheng)四科(ke)(ke)(ke)安(an)康(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)(ren)(ren)。該班(ban)(ban)(ban)陣容整齊(qi)(qi)，行當齊(qi)(qi)全(quan)，其唱(chang)(chang)腔(qiang)雜(za)有湖北(bei)(bei)(bei)民(min)(min)間(jian)曲調(diao)(diao)，人(ren)(ren)(ren)(ren)稱下(xia)河調(diao)(diao)，具(ju)有唱(chang)(chang)腔(qiang)清(qing)新悅耳，表演(yan)(yan)細(xi)膩(ni)神奇的風格，習者眾(zhong)多，使安(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)(han)調(diao)(diao)二(er)簧(huang)(huang)(huang)得(de)到了(le)長(chang)(chang)(chang)足(zu)新悅耳，表演(yan)(yan)細(xi)膩(ni)神奇的風格，習者眾(zhong)多，使安(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)(han)調(diao)(diao)二(er)簧(huang)(huang)(huang)得(de)到了(le)長(chang)(chang)(chang)足(zu)發(fa)展。同(tong)(tong)治(zhi)(zhi)年(nian)間(jian)（1862—1874）出(chu)(chu)(chu)(chu)科(ke)(ke)(ke)的方(fang)、盛(sheng)兩科(ke)(ke)(ke)藝(yi)術人(ren)(ren)(ren)(ren)，先(xian)后(hou)入關中(zhong)、四川演(yan)(yan)出(chu)(chu)(chu)(chu)；瑞、彩科(ke)(ke)(ke)藝(yi)人(ren)(ren)(ren)(ren)長(chang)(chang)(chang)期駐足(zu)于安(an)康(kang)(kang)(kang)(kang)地(di)區(qu)，使安(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)(han)調(diao)(diao)二(er)簧(huang)(huang)(huang)在(zai)(zai)唱(chang)(chang)腔(qiang)、表演(yan)(yan)等(deng)(deng)方(fang)面(mian)發(fa)生(sheng)了(le)較大變化(hua)。清(qing)末民(min)(min)案初(chu)，安(an)康(kang)(kang)(kang)(kang)各(ge)地(di)班(ban)(ban)(ban)社(she)日(ri)益增多，最有影響(xiang)的為(wei)(wei)十(shi)三(san)太(tai)(tai)(tai)字(zi)班(ban)(ban)(ban)。即金(jin)(jin)太(tai)(tai)(tai)班(ban)(ban)(ban)、福(fu)太(tai)(tai)(tai)班(ban)(ban)(ban)、鼎(ding)太(tai)(tai)(tai)班(ban)(ban)(ban)、廣(guang)太(tai)(tai)(tai)班(ban)(ban)(ban)、隆(long)太(tai)(tai)(tai)班(ban)(ban)(ban)、貴太(tai)(tai)(tai)班(ban)(ban)(ban)、仁(ren)太(tai)(tai)(tai)班(ban)(ban)(ban)、榮(rong)太(tai)(tai)(tai)班(ban)(ban)(ban)、盛(sheng)太(tai)(tai)(tai)班(ban)(ban)(ban)、喜(xi)太(tai)(tai)(tai)班(ban)(ban)(ban)、治(zhi)(zhi)太(tai)(tai)(tai)班(ban)(ban)(ban)、裕太(tai)(tai)(tai)班(ban)(ban)(ban)和(he)德太(tai)(tai)(tai)班(ban)(ban)(ban)。后(hou)因連年(nian)災荒，兵匪橫行，班(ban)(ban)(ban)社(she)紛紛解體。民(min)(min)國八年(nian)（1919）年(nian)安(an)康(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)(ren)(ren)凌成佑，在(zai)(zai)城防駐軍北(bei)(bei)(bei)洋第七師的支持下(xia)，成立(li)(li)了(le)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)同(tong)(tong)心社(she)，以安(an)康(kang)(kang)(kang)(kang)城為(wei)(wei)大本營(ying)，于陜南漢(han)(han)(han)(han)(han)水流域(yu)各(ge)縣(xian)廟(miao)會(hui)、商會(hui)、鄉鎮售票演(yan)(yan)出(chu)(chu)(chu)(chu)，二(er)簧(huang)(huang)(huang)再一(yi)次(ci)起興。出(chu)(chu)(chu)(chu)現(xian)的藝(yi)人(ren)(ren)(ren)(ren)有青衣泰斗陳長(chang)(chang)(chang)庚，凈角(jiao)陳天靜、知長(chang)(chang)(chang)福(fu)，花旦(dan)閻保(bao)林，丑角(jiao)范大德、梁金(jin)(jin)玉(yu)(yu)，生(sheng)角(jiao)徐茂才、黃大架，小生(sheng)孫玉(yu)(yu)寶、李(li)玉(yu)(yu)喜(xi)及安(an)康(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)(huang)第一(yi)代女藝(yi)人(ren)(ren)(ren)(ren)鐘玉(yu)(yu)鳳(feng)、郭(guo)玉(yu)(yu)蓮等(deng)(deng)。抗(kang)日(ri)戰爭爆發(fa)后(hou)，京(jing)、滬(hu)各(ge)地(di)藝(yi)人(ren)(ren)(ren)(ren)逃至陜南，京(jing)劇(ju)(ju)(ju)、越(yue)劇(ju)(ju)(ju)、曲劇(ju)(ju)(ju)、話(hua)劇(ju)(ju)(ju)及秦腔(qiang)傳入安(an)康(kang)(kang)(kang)(kang)，安(an)康(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)(huang)又(you)走向了(le)低谷(gu)。凌成佑不甘現(xian)狀(zhuang)，在(zai)(zai)同(tong)(tong)心社(she)開(kai)辦(ban)科(ke)(ke)(ke)班(ban)(ban)(ban)，培養(yang)了(le)一(yi)批二(er)簧(huang)(huang)(huang)藝(yi)人(ren)(ren)(ren)(ren)，使安(an)康(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)(huang)再度出(chu)(chu)(chu)(chu)現(xian)了(le)回(hui)升之勢。中(zhong)華人(ren)(ren)(ren)(ren)民(min)(min)共(gong)和(he)國成立(li)(li)后(hou)，安(an)康(kang)(kang)(kang)(kang)地(di)方(fang)政(zheng)府將同(tong)(tong)心社(she)與西(xi)(xi)關自(zi)樂社(she)合(he)并成立(li)(li)安(an)康(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民(min)(min)劇(ju)(ju)(ju)院，先(xian)后(hou)排演(yan)(yan)了(le)《小二(er)黑結(jie)婚》、《窮(qiong)人(ren)(ren)(ren)(ren)恨》、《九件(jian)衣》、《北(bei)(bei)(bei)京(jing)四十(shi)天》等(deng)(deng)劇(ju)(ju)(ju)目，受到觀(guan)眾(zhong)歡(huan)迎。1956年(nian)安(an)康(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)民(min)(min)劇(ju)(ju)(ju)院改(gai)為(wei)(wei)安(an)康(kang)(kang)(kang)(kang)縣(xian)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)團。專(zhuan)區(qu)各(ge)縣(xian)也先(xian)后(hou)成立(li)(li)起縣(xian)屬(shu)專(zhuan)業漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)團，從業人(ren)(ren)(ren)(ren)員達三(san)百余(yu)人(ren)(ren)(ren)(ren)。1959年(nian)陜西(xi)(xi)省戲(xi)(xi)曲學校設立(li)(li)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)班(ban)(ban)(ban)，為(wei)(wei)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)培養(yang)學員七十(shi)五名，充實(shi)了(le)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)新生(sheng)力量(liang)。1981年(nian)陜西(xi)(xi)省文化(hua)局(ju)于安(an)康(kang)(kang)(kang)(kang)舉行了(le)首屆(jie)漢(han)(han)(han)(han)(han)劇(ju)(ju)(ju)會(hui)演(yan)(yan)，名流薈萃，各(ge)呈異彩，把二(er)簧(huang)(huang)(huang)戲(xi)(xi)推到一(yi)個新的階(jie)段(duan)。安(an)康(kang)(kang)(kang)(kang)漢(han)(han)(han)(han)(han)調(diao)(diao)二(er)簧(huang)(huang)(huang)擅演(yan)(yan)文戲(xi)(xi)，唱(chang)(chang)腔(qiang)秀麗、委婉，主要流行安(an)康(kang)(kang)(kang)(kang)、旬陽(yang)、紫陽(yang)、平利、白河、漢(han)(han)(han)(han)(han)陰、石泉等(deng)(deng)地(di)。

關中二簧

流行于西安(an)、三原、涇陽(yang)、鳳翔(xiang)、長(chang)安(an)、藍田、周至(zhi)、戶縣(xian)、咸(xian)陽(yang)、耀縣(xian)等(deng)地(di)。注重唱工，劇本(ben)水詞少，正、悲(bei)劇多(duo)，曲牌(pai)、打擊樂(le)多(duo)帶秦腔風味。最(zui)得文人(ren)、商(shang)紳、旗、滿(man)、回民(min)和(he)軍政要人(ren)的喜好。嘉(jia)慶末(mo)年(nian)(nian)，漢中來(lai)字輩出(chu)(chu)科(ke)(ke)學(xue)(xue)生賀(he)鴻生，領班(ban)(ban)(ban)往關(guan)中寶雞、虢鎮、周至(zhi)、戶縣(xian)、涇陽(yang)、三原、富平(ping)及西安(an)南關(guan)等(deng)地(di)演(yan)(yan)出(chu)(chu)。受(shou)其(qi)影響，涇陽(yang)、長(chang)安(an)、周至(zhi)等(deng)地(di)，亦先后組(zu)織(zhi)起(qi)二(er)(er)(er)(er)簧(huang)(huang)班(ban)(ban)(ban)社(she)(she)(she)(she)。光(guang)緒年(nian)(nian)間(jian)（1875—1908），出(chu)(chu)現(xian)了三原的清義班(ban)(ban)(ban)，涇陽(yang)吳寡婦(fu)(fu)班(ban)(ban)(ban)，并(bing)(bing)開始有(you)(you)坤伶清唱或掛(gua)衣(yi)登臺。吳寡婦(fu)(fu)班(ban)(ban)(ban)搜羅藝(yi)(yi)(yi)人(ren)，延聘文人(ren)修改劇本(ben)，聲譽(yu)日增。慈禧(xi)太后逃至(zhi)西安(an)后，該班(ban)(ban)(ban)曾應詔承奉獻演(yan)(yan)，得到慈禧(xi)贈匾嘉(jia)獎(jiang)。辛亥革(ge)命后，陜(shan)西督(du)都張(zhang)翔(xiang)初，革(ge)命軍師(shi)長(chang)張(zhang)云山(shan)(shan)，支持在西安(an)創辦(ban)了二(er)(er)(er)(er)簧(huang)(huang)鳴盛(sheng)學(xue)(xue)社(she)(she)(she)(she)，先后培養學(xue)(xue)員二(er)(er)(er)(er)百余(yu)人(ren)，成(cheng)為(wei)(wei)關(guan)中地(di)區二(er)(er)(er)(er)簧(huang)(huang)的最(zui)大科(ke)(ke)班(ban)(ban)(ban)。教師(shi)有(you)(you)趙安(an)子、吳李乾(qian)等(deng)。出(chu)(chu)科(ke)(ke)的演(yan)(yan)員有(you)(you)山(shan)(shan)鳴歧(qi)、劉(liu)鳴祥(xiang)、張(zhang)鳴峰(feng)、雷鳴震等(deng)，成(cheng)為(wei)(wei)關(guan)中二(er)(er)(er)(er)簧(huang)(huang)的中堅力(li)量，曾受(shou)聘于四川、甘(gan)肅、河南等(deng)地(di)傳藝(yi)(yi)(yi)和(he)演(yan)(yan)出(chu)(chu)。關(guan)中二(er)(er)(er)(er)簧(huang)(huang)演(yan)(yan)出(chu)(chu)的主要劇目(mu)有(you)(you)《火輪牌(pai)》、《汜水關(guan)》、《破桃山(shan)(shan)》、《出(chu)(chu)五關(guan)》、《過巴州》、《鎖陽(yang)城》、《四平(ping)山(shan)(shan)》等(deng)。1925年(nian)(nian)駐軍賈興(xing)運組(zu)織(zhi)的二(er)(er)(er)(er)簧(huang)(huang)班(ban)(ban)(ban)，演(yan)(yan)出(chu)(chu)一時而解(jie)體。1931年(nian)(nian)，藝(yi)(yi)(yi)人(ren)王安(an)奎創辦(ban)志(zhi)義科(ke)(ke)班(ban)(ban)(ban)，培養出(chu)(chu)演(yan)(yan)員劉(liu)志(zhi)俊、劉(liu)志(zhi)勝、馮志(zhi)才、邵志(zhi)福、董志(zhi)杰等(deng)，同時還出(chu)(chu)現(xian)有(you)(you)慶義社(she)(she)(she)(she)和(he)中興(xing)社(she)(she)(she)(she)，因難以立(li)足(zu)西安(an)而多(duo)巡回于外縣(xian)演(yan)(yan)出(chu)(chu)。1949年(nian)(nian)初，原“鳴盛(sheng)學(xue)(xue)社(she)(she)(she)(she)”、“慶義社(she)(she)(she)(she)”等(deng)漢調二(er)(er)(er)(er)簧(huang)(huang)班(ban)(ban)(ban)社(she)(she)(she)(she)合并(bing)(bing)為(wei)(wei)“大眾劇社(she)(she)(she)(she)”，活(huo)動(dong)三年(nian)(nian)散班(ban)(ban)(ban)。自此，關(guan)中地(di)區再(zai)無(wu)專(zhuan)業二(er)(er)(er)(er)簧(huang)(huang)劇團，僅西安(an)、藍田、戶縣(xian)尚有(you)(you)二(er)(er)(er)(er)簧(huang)(huang)研究會，經常(chang)組(zu)織(zhi)一些(xie)業余(yu)演(yan)(yan)唱活(huo)動(dong)。

洛鎮二簧

盛行于鎮安(an)(an)(an)、山陽、商縣(xian)(xian)(xian)、洛南(nan)(nan)等(deng)(deng)地(di)。向以武(wu)戲(xi)見長，演(yan)(yan)(yan)《八(ba)蠟廟》、《紅(hong)桃山》等(deng)(deng)劇，使用真槍真刀。同(tong)治(zhi)、光(guang)緒年(nian)間(jian)(jian)（1862—1908），出(chu)(chu)科于漢(han)中西鄉沙河(he)坎楊金(jin)年(nian)科班(ban)(ban)(ban)的(de)(de)(de)名藝(yi)人(ren)賀(he)鴻(hong)(hong)生(sheng)，曾從湖北(bei)(bei)、關中往返于商洛地(di)區傳(chuan)播二(er)簧(huang)(huang)(huang)，培養出(chu)(chu)趙(zhao)安(an)(an)(an)子、吳寶卿、演(yan)(yan)(yan)技超群，頗(po)受觀眾歡(huan)迎。光(guang)緒二(er)十四(si)年(nian)（1898），清(qing)廷還詔趙(zhao)、吳進宮(gong)演(yan)(yan)(yan)唱。姚政班(ban)(ban)(ban)先后舉辦科班(ban)(ban)(ban)，培養出(chu)(chu)“廣(guang)”、“慶(qing)”兩科藝(yi)人(ren)五(wu)十余名，壯大(da)(da)了(le)(le)洛鎮二(er)簧(huang)(huang)(huang)的(de)(de)(de)演(yan)(yan)(yan)出(chu)(chu)隊伍。二(er)十世紀(ji)二(er)、三(san)十年(nian)代(dai)，二(er)簧(huang)(huang)(huang)戲(xi)繼續發展，出(chu)(chu)現的(de)(de)(de)班(ban)(ban)(ban)社(she)(she)有柞(zuo)水(shui)縣(xian)(xian)(xian)北(bei)(bei)河(he)代(dai)大(da)(da)爺班(ban)(ban)(ban)，商縣(xian)(xian)(xian)城(cheng)(cheng)內孔(kong)海(hai)山的(de)(de)(de)商山升(sheng)平社(she)(she)，商縣(xian)(xian)(xian)北(bei)(bei)區的(de)(de)(de)屈映南(nan)(nan)班(ban)(ban)(ban)，鎮安(an)(an)(an)縣(xian)(xian)(xian)城(cheng)(cheng)姚再勝(sheng)的(de)(de)(de)五(wu)福班(ban)(ban)(ban)，云蓋寺的(de)(de)(de)安(an)(an)(an)樂社(she)(she)和(he)柞(zuo)水(shui)石鎮、商縣(xian)(xian)(xian)黑龍口(kou)、韓峪川、楊斜、東鄉等(deng)(deng)地(di)的(de)(de)(de)二(er)簧(huang)(huang)(huang)班(ban)(ban)(ban)，共(gong)十余個。藝(yi)人(ren)有代(dai)大(da)(da)爺班(ban)(ban)(ban)的(de)(de)(de)劉五(wu)燕（紅(hong)生(sheng)、武(wu)旦(dan)）、張志富（二(er)凈）、朱長福（外）、龔金(jin)娃（末）等(deng)(deng)，五(wu)福班(ban)(ban)(ban)的(de)(de)(de)尹榮山（凈）、董興平（旦(dan)）、金(jin)雙(shuang)慶(qing)（生(sheng)）、雷鳴(ming)震（生(sheng)）等(deng)(deng)，安(an)(an)(an)樂社(she)(she)的(de)(de)(de)羅福娃、陳(chen)大(da)(da)炮、劉子勝(sheng)（生(sheng)）、張長生(sheng)（丑(chou)）、高志海(hai)（旦(dan)）等(deng)(deng)，商縣(xian)(xian)(xian)、山陽、柞(zuo)水(shui)縣(xian)(xian)(xian)各(ge)班(ban)(ban)(ban)的(de)(de)(de)李保林、王廣(guang)翠、陳(chen)剛娃、黃亮(liang)子、呂慶(qing)華(hua)、張慶(qing)鴻(hong)(hong)等(deng)(deng)。演(yan)(yan)(yan)出(chu)(chu)的(de)(de)(de)劇目主要有《斬黃袍》《天水(shui)關》《端午門》《受禪臺》《天才吃饃》《南(nan)(nan)北(bei)(bei)會(hui)》《洪(hong)羊洞》《白(bai)門樓(lou)》《清(qing)河(he)橋(qiao)》《大(da)(da)開榜》《元宵謎》《梵王宮(gong)》《漁舟配》《鼓滾劉封》《雙(shuang)投唐》《草橋(qiao)關》《月明樓(lou)》《望兒樓(lou)》等(deng)(deng)。抗(kang)(kang)日戰爭(zheng)期間(jian)(jian)，洛鎮漢(han)調二(er)簧(huang)(huang)(huang)呈現蕭條(tiao)之勢，不少班(ban)(ban)(ban)社(she)(she)解體。至抗(kang)(kang)日戰爭(zheng)末期，只有柞(zuo)水(shui)抗(kang)(kang)建(jian)(jian)劇團、鎮安(an)(an)(an)三(san)勝(sheng)班(ban)(ban)(ban)等(deng)(deng)還在演(yan)(yan)(yan)出(chu)(chu)。中華(hua)人(ren)民共(gong)和(he)國(guo)成(cheng)立后，1955年(nian)5月以大(da)(da)同(tong)社(she)(she)和(he)抗(kang)(kang)建(jian)(jian)劇團為基礎建(jian)(jian)立了(le)(le)商洛新生(sheng)劇團，1956年(nian)秋(qiu)，鎮安(an)(an)(an)縣(xian)(xian)(xian)以三(san)勝(sheng)班(ban)(ban)(ban)為基礎組建(jian)(jian)了(le)(le)群眾劇團。1957年(nian)后又(you)相繼組建(jian)(jian)成(cheng)立了(le)(le)山陽縣(xian)(xian)(xian)和(he)鎮安(an)(an)(an)縣(xian)(xian)(xian)兩個縣(xian)(xian)(xian)級專業漢(han)劇團，經常于本縣(xian)(xian)(xian)及商縣(xian)(xian)(xian)、洛南(nan)(nan)、丹鳳等(deng)(deng)地(di)巡回演(yan)(yan)(yan)出(chu)(chu)。并招收學員，培養出(chu)(chu)武(wu)新艾等(deng)(deng)一批演(yan)(yan)(yan)員。

傳承保護

傳承價值

經研究認定，漢調二(er)簧(huang)形(xing)成較早(zao)，各地(di)其他皮簧(huang)聲腔劇種都與(yu)之存在淵(yuan)源(yuan)關系，它對(dui)川劇、徽劇、京劇等的形(xing)成和發(fa)展(zhan)有(you)著不可忽略的影(ying)響。

傳承現狀

如今，漢調二簧(huang)觀眾(zhong)銳(rui)減(jian)，經(jing)濟(ji)上出現困難(nan)，不斷走向衰落，專(zhuan)業劇(ju)團(tuan)紛紛解散，僅(jin)剩下安康漢濱區一(yi)個劇(ju)團(tuan)還在(zai)維(wei)持演(yan)出，而且這個惟一(yi)的劇(ju)團(tuan)也正瀕臨解散的危(wei)機(ji)。在(zai)此(ci)情(qing)勢下，有必要大聲呼吁(yu)，應該盡快對(dui)這一(yi)古(gu)老(lao)劇(ju)種進行(xing)搶救和保(bao)護。

傳承人物

龔尚武，男，漢(han)族，1937年生(sheng)，陜西漢(han)陰(yin)人，第二(er)批(pi)國家級非物質文(wen)化(hua)遺產(chan)項目漢(han)調(diao)二(er)簧(huang)代表(biao)性(xing)傳承人。

王(wang)發蕓，女，漢(han)族，1941年生，陜西安康人(ren)，國家(jia)二(er)(er)級演員，第二(er)(er)批(pi)國家(jia)級非物質文化遺產項目漢(han)調二(er)(er)簧代表性傳承人(ren)。

保護措施

1956年，陜西省文(wen)化(hua)局及(ji)陜西省劇(ju)目(mu)工作(zuo)室在安(an)康設立(li)專區(qu)戲曲發(fa)掘組(zu)，全面組(zu)織(zhi)二黃老藝人們口述傳代輩份(fen)、班社來往和源流沿革；以及(ji)迄(qi)今(jin)對古戲樓遺(yi)存至(zhi)今(jin)的班社壁題留字。

2019年11月，《國家級非(fei)物(wu)質文化遺產代表性項目(mu)保護單位名單》公布(bu)，安康市(shi)群眾藝術館、竹溪縣(xian)山(shan)二黃劇(ju)種保護傳(chuan)承展演中心獲得“漢調二簧”項目(mu)保護單位資格。

社會影響

重要演出

1981年，陜(shan)西省文化廳在安康舉(ju)辦“陜(shan)西省首屆漢劇(ju)會演(yan)”，陜(shan)南地區有十余個專業劇(ju)團參(can)加演(yan)出，出現了(le)空前(qian)繁榮的(de)局面。

2015年(nian)10月16日晚，為(wei)喜迎“第十一屆中國文化(hua)藝(yi)術節”倒計(ji)時一周年(nian)，由(you)寧陜(shan)縣文廣局主(zhu)辦(ban)、廣貨街鎮沙溝漢(han)劇(ju)自(zi)樂班(ban)社(she)承辦(ban)的(de)漢(han)調二黃(huang)專場演出在寧陜(shan)縣電(dian)影(ying)院精彩(cai)上演。

榮譽表彰

2012年，平利縣選(xuan)送(song)的漢(han)調二(er)黃戲(xi)《八(ba)仙游八(ba)仙》在(zai)首屆漢(han)調二(er)黃自樂班社擂臺賽中榮獲一等獎。

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