中(zhong)國三百多個(ge)(ge)劇(ju)種從大(da)的(de)(de)(de)(de)方(fang)(fang)面來(lai)(lai)說(shuo),它們分屬五(wu)個(ge)(ge)不(bu)同的(de)(de)(de)(de)聲腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)系(xi)統,即(ji):昆山腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、弋(yi)陽腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、柳子(zi)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)、梆(bang)子(zi)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)和皮(pi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)。宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)屬于(yu)皮(pi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)一類(lei)。而據(ju)考宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)就(jiu)是(shi)京劇(ju)、贛(gan)劇(ju)與(yu)徽、漢、湘等皮(pi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)系(xi)統中(zhong)二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)或稱(cheng)南(nan)路腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)(de)(de)前身,宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)是(shi)二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)(de)(de)發源地(di),宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)以“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”為(wei)主(zhu)要唱腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),(宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)的(de)(de)(de)(de)"宜(yi)"發音(yin)與(yu)"二(er)(er)"方(fang)(fang)言古漢語發音(yin)相同)。“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”因產(chan)(chan)于(yu)宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)縣而得名。宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)又稱(cheng)“戲(xi)鄉”,早在(zai)明代中(zhong)葉,就(jiu)成(cheng)為(wei)江(jiang)西地(di)方(fang)(fang)戲(xi)曲(qu)中(zhong)心。明末清初(chu)(chu),“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”由在(zai)南(nan)方(fang)(fang)流(liu)傳的(de)(de)(de)(de)甘肅“西秦腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)二(er)(er)犯(fan)”演變而成(cheng)。初(chu)(chu)期(qi)為(wei)笛(di)子(zi)伴(ban)奏的(de)(de)(de)(de)“平板吹(chui)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”和有(you)(you)三種板式的(de)(de)(de)(de)“嗩吶(na)二(er)(er)犯(fan)”。清乾隆初(chu)(chu)年(nian)“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”廢嗩吶(na)、改(gai)由胡琴為(wei)主(zhu)奏樂器,并將“吹(chui)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”、“二(er)(er)犯(fan)”兩種曲(qu)調(diao)(diao)統一,“二(er)(er)犯(fan)”分作四種扳(ban)式,吹(chui)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)變成(cheng)了二(er)(er)凡的(de)(de)(de)(de)平扳(ban),形(xing)成(cheng)了廣(guang)為(wei)流(liu)傳的(de)(de)(de)(de)“胡琴腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”。“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”產(chan)(chan)生(sheng)之(zhi)后,在(zai)江(jiang)西各地(di)流(liu)傳,并為(wei)尚(shang)存的(de)(de)(de)(de)江(jiang)西地(di)方(fang)(fang)大(da)戲(xi)劇(ju)種,如豫劇(ju)、東河(he)戲(xi)、盱河(he)戲(xi),寧河(he)戲(xi)等所(suo)吸收,并保留 “二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)”這(zhe)個(ge)(ge)稱(cheng)呼。老藝人(ren)稱(cheng)為(wei)“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao)(diao)”,因其(qi)基本曲(qu)調(diao)(diao)與(yu)各地(di)皮(pi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)劇(ju)種的(de)(de)(de)(de)二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)類(lei)似,故當(dang)地(di)人(ren)后來(lai)(lai)也(ye)稱(cheng)“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”為(wei)“老二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)”。“宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)”興起(qi)之(zhi)后,向外省流(liu)傳,浙江(jiang)紹興、北京、廣(guang)州都(dou)有(you)(you)宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)(de)(de)記載,影(ying)響很深(shen)。這(zhe)正(zheng)如清乾隆四十九年(nian)李調(diao)(diao)元(yuan)所(suo)著《雨村(cun)劇(ju)話》云:“胡琴腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)起(qi)于(yu)江(jiang)右,今世盛(sheng)傳其(qi)音(yin)……”。清初(chu)(chu)江(jiang)西新(xin)建人(ren)熊文舉詩“凄涼羽調(diao)(diao)咽(yan)霓裳,欲(yu)譜風(feng)流(liu)筆都(dou)荒,知是(shi)清源留袒(tan)曲(qu),湯詞端臺唱宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)。”這(zhe)就(jiu)是(shi)說(shuo):湯氏(shi)所(suo)有(you)(you)劇(ju)本,都(dou)由宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)子(zi)弟來(lai)(lai)演,故有(you)(you)“臨川才子(zi),宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)弟子(zi)”之(zhi)說(shuo)。不(bu)過(guo),當(dang)時(shi)唱的(de)(de)(de)(de)宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),是(shi)由海鹽腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)與(yu)當(dang)地(di)流(liu)行的(de)(de)(de)(de)弋(yi)陽土調(diao)(diao)相結(jie)合的(de)(de)(de)(de)變調(diao)(diao),不(bu)是(shi)如今所(suo)唱的(de)(de)(de)(de)二(er)(er)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。這(zhe)充(chong)分說(shuo)明宜(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)曲(qu)活(huo)動活(huo)躍,人(ren)才輩出,是(shi)個(ge)(ge)“戲(xi)窩子(zi)”。它有(you)(you)著產(chan)(chan)生(sheng)一種戲(xi)曲(qu)新(xin)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)(de)(de)(de)基礎(chu)和條件。
宜(yi)(yi)黃(huang)戲是如今(jin)尚存的(de)江西地方(fang)贛語(yu)大戲劇(ju)種(zhong),江西省(sheng)古(gu)老的(de)傳統(tong)贛語(yu)戲曲之一。發源于江西宜(yi)(yi)黃(huang)縣,起始于明末清初
(1644),迄今已有近四百年歷史。形成發展于(yu)清(qing)乾隆初期(qi)(1786),興盛流傳于(yu)清(qing)嘉慶至(zhi)光緒(xu)時期(qi)(1880前后),衰落于(yu)清(qing)末至(zhi)民國戰(zhan)亂時期(qi)(1920-1948)。
舊稱宜黃(huang)班,明(ming)末清初開(kai)始(shi)專唱“宜黃(huang)腔(qiang)”。清末以后,吸(xi)收了(le)其(qi)它亂彈的(de)聲腔(qiang)和劇(ju)目(如(ru)西皮、浙調(diao)、吹腔(qiang)、撥子、南(nan)北(bei)詞等(deng))而成為由(you)多(duo)種(zhong)聲腔(qiang)綜合而成的(de)宜黃(huang)戲劇(ju)種(zhong)。主要流行(xing)地(di)區(qu)為江西的(de)宜黃(huang)、南(nan)城、南(nan)豐、廣昌(chang)等(deng)縣,遠(yuan)及贛東北(bei),贛南(nan)和福(fu)建閩(min)西一帶。
宜黃(huang)(huang)(huang)戲(xi)班在明(ming)朝就很出名,中(zhong)國杰出戲(xi)劇家湯顯祖的(de)劇作(zuo)《臨川四夢》,最初就由宜黃(huang)(huang)(huang)班演出,并因此有“宜伶(ling)”、“宜黃(huang)(huang)(huang)子(zi)弟(di)”之說。但那時(shi)的(de)宜黃(huang)(huang)(huang)班先唱(chang)弋陽(yang)腔(qiang)。“弋陽(yang)之調絕”,相繼興起的(de)便是徽州、青陽(yang)兩腔(qiang)的(de)流(liu)行(xing)。不(bu)久,引進了海鹽腔(qiang),隨后(hou)占據了江西劇壇,盛極一時(shi)。
民國(guo)期間,宜(yi)(yi)黃已無專業(ye)班社存在(zai)。新中國(guo)成(cheng)立(li)后,宜(yi)(yi)黃縣為恢復這個古(gu)老劇(ju)種(zhong),于1956年定名為“宜(yi)(yi)黃戲”并正式(shi)成(cheng)立(li)專業(ye)國(guo)營“宜(yi)(yi)黃戲劇(ju)團”(1989年撤(che)消)。
“文革”時期(1966-1976年)遭扼(e)殺,演職人員被批斗,服(fu)裝頭飾被付之一(yi)炬。
1978年(nian)后開始搶救、保護工作。
2006年6月被(bei)正式列(lie)為首(shou)批(pi)國家級(ji)非物(wu)質文化遺產項目。列(lie)入江西省(sheng)第一批(pi)省(sheng)級(ji)非物(wu)質文化遺產名錄。
江西“宜(yi)(yi)(yi)黃(huang)戲(xi)”正式被入選國(guo)家級非物質文化遺產名錄,宜(yi)(yi)(yi)黃(huang)戲(xi)和宜(yi)(yi)(yi)黃(huang)腔(qiang)在(zai)中國(guo)戲(xi)曲(qu)(qu)史上(shang)(shang)依然顯示出(chu)耀(yao)眼光芒和四射魅力。事實上(shang)(shang),幾百年來宜(yi)(yi)(yi)黃(huang)戲(xi)就以(yi)其(qi)鮮(xian)明的(de)(de)表演(yan)風格、優美的(de)(de)聲(sheng)腔(qiang)和人人愛聽能懂(dong)的(de)(de)語言及(ji)不斷更新的(de)(de)劇目活躍(yue)在(zai)中國(guo)各地(di)(di)(di)的(de)(de)舞臺,宜(yi)(yi)(yi)黃(huang)戲(xi)由于它在(zai)劇本(ben)、表演(yan)、音樂(le)、舞美(包括臉譜(pu)服(fu)飾)等諸方面的(de)(de)鮮(xian)明地(di)(di)(di)方色彩贏得了其(qi)在(zai)戲(xi)曲(qu)(qu)上(shang)(shang)的(de)(de)歷(li)史地(di)(di)(di)位,也贏得了廣大觀眾和戲(xi)迷的(de)(de)喜愛。
江西(xi)古老贛語劇(ju)種(zhong)之一。發源于(yu)宜黃縣,迄今已有(you)近四(si)百年(nian)歷史(shi),中心流(liu)傳地(di)區為江西(xi)的宜黃、南(nan)(nan)城、南(nan)(nan)豐、廣昌(chang)等(deng)縣,遠及贛東北、贛南(nan)(nan)、閩西(xi)一帶。
現今流行(xing)的(de)(de)宜(yi)(yi)黃戲(xi),是清(qing)(qing)初(chu)在(zai)宜(yi)(yi)黃縣發展起(qi)來的(de)(de)(因江(jiang)浙音“宜(yi)(yi)”、“二(er)(er)”不分,故后來有人(ren)稱“宜(yi)(yi)黃腔(qiang)(qiang)”是“二(er)(er)黃腔(qiang)(qiang)”)。究其根源,可(ke)以直(zhi)溯明(ming)朝(chao)的(de)(de)西秦腔(qiang)(qiang)。這種西秦腔(qiang)(qiang)的(de)(de)曲(qu)調包(bao)括以嗩(suo)吶伴奏(zou)的(de)(de)[二(er)(er)犯]及以笛子(zi)伴奏(zou)的(de)(de)[吹腔(qiang)(qiang)]。其中(zhong)的(de)(de)[二(er)(er)犯]因較之西秦腔(qiang)(qiang)之“二(er)(er)犯”有很大(da)發展,便(bian)成(cheng)(cheng)了獨樹一幟的(de)(de)宜(yi)(yi)黃腔(qiang)(qiang)。乾隆初(chu),宜(yi)(yi)伶又以原配奏(zou)樂器(qi)大(da)筒胡琴(qin)改為(wei)主(zhu)奏(zou)樂器(qi),從(cong)此嗩(suo)吶[二(er)(er)犯]及平板[吹腔(qiang)(qiang)]一變(bian)為(wei)胡琴(qin)腔(qiang)(qiang)。清(qing)(qing)代戲(xi)曲(qu)家李調元在(zai)《雨村(cun)劇(ju)話》中(zhong)曾寫道胡琴(qin)腔(qiang)(qiang)起(qi)于江(jiang)右(you)(即江(jiang)西),又名二(er)(er)黃腔(qiang)(qiang)。胡琴(qin)腔(qiang)(qiang)的(de)(de)誕生(sheng),標志著板腔(qiang)(qiang)音樂在(zai)南方(fang)增(zeng)加了一路。宜(yi)(yi)黃腔(qiang)(qiang)崛起(qi)后,流行(xing)很廣,現贛劇(ju)、徽(hui)劇(ju)、祁劇(ju)中(zhong)所唱的(de)(de)“二(er)(er)黃腔(qiang)(qiang)”(或稱南路),是直(zhi)接由宜(yi)(yi)黃腔(qiang)(qiang)傳去的(de)(de),所以宜(yi)(yi)黃腔(qiang)(qiang)對中(zhong)國(guo)許多(duo)劇(ju)種中(zhong)“二(er)(er)黃腔(qiang)(qiang)”的(de)(de)形成(cheng)(cheng)有著直(zhi)接影響。
宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)舊稱宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)班(ban)、宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)調(diao),主要(yao)流行于江(jiang)西(xi)(xi)(xi)的(de)(de)(de)(de)(de)宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)、南城、南豐、廣昌等縣(xian)。它以明(ming)(ming)末(mo)(mo)(mo)西(xi)(xi)(xi)秦腔(qiang)(qiang)(qiang)演變成的(de)(de)(de)(de)(de)宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang) 宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)為主要(yao)唱(chang)腔(qiang)(qiang)(qiang),清末(mo)(mo)(mo)吸收其他亂彈的(de)(de)(de)(de)(de)聲(sheng)(sheng)腔(qiang)(qiang)(qiang)和(he)劇(ju)目(mu)而(er)形成一個多(duo)種(zhong)聲(sheng)(sheng)腔(qiang)(qiang)(qiang)綜合(he)的(de)(de)(de)(de)(de)劇(ju)種(zhong)。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)的(de)(de)(de)(de)(de)傳統(tong)劇(ju)目(mu)約(yue)有(you)五百余(yu)種(zhong),但絕(jue)大多(duo)數已經(jing)失傳。 《雌雄鞭(bian)》 、 《慶陽圖》 、 《雙龍會》 、 《上(shang)天臺》 、 《老君堂》 、《清官冊》 、 《藥茶記》 、 《三官堂》 、《奇雙配(pei)(pei)》 、 《四國齊(qi)》 、《飛(fei)龍傳》 、 《月明(ming)(ming)樓》 、 《江(jiang)東(dong)橋》 、 《春秋配(pei)(pei)》 、 《龍鳳閣》 、 《拷(kao)打(da)春桃》 、 《八仙(xian)飄海》 、 《賣梨招親》等皆(jie)是其代(dai)表性劇(ju)目(mu)。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)的(de)(de)(de)(de)(de)有(you)些演出劇(ju)目(mu)還保留(liu)了早(zao)期的(de)(de)(de)(de)(de)關目(mu)和(he)排場,顯得十分(fen)(fen)古樸。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)的(de)(de)(de)(de)(de)曲調(diao)主要(yao)有(you)宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)、反調(diao)、嗩吶二凡、西(xi)(xi)(xi)皮浙調(diao)、南北詞等,同時還保留(liu)西(xi)(xi)(xi)秦腔(qiang)(qiang)(qiang)時代(dai)的(de)(de)(de)(de)(de)吹腔(qiang)(qiang)(qiang),俗名“平板吹腔(qiang)(qiang)(qiang)”。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)唱(chang)腔(qiang)(qiang)(qiang)較為原始、平直,拖(tuo)腔(qiang)(qiang)(qiang)少而(er)短,老生(sheng)(sheng)(sheng)(sheng)、老旦(dan)用(yong)本嗓,小生(sheng)(sheng)(sheng)(sheng)大小嗓結合(he)而(er)尾(wei)音常翻高(gao)八度,男女同腔(qiang)(qiang)(qiang)同調(diao)。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)的(de)(de)(de)(de)(de)腳色發展到近代(dai)可以分(fen)(fen)為正生(sheng)(sheng)(sheng)(sheng)、小生(sheng)(sheng)(sheng)(sheng)、老生(sheng)(sheng)(sheng)(sheng)、副生(sheng)(sheng)(sheng)(sheng)、正旦(dan)、小旦(dan)、二旦(dan)、老旦(dan)、大花(hua)、二花(hua)、三花(hua)、四 宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)花(hua)十二行。其表演粗(cu)獷古樸,嚴(yan)謹(jin)工(gong)穩。有(you)些戲(xi)(xi)(xi)中(zhong)(zhong)表現人物騎馬(ma)(ma),不用(yong)馬(ma)(ma)鞭(bian)代(dai)替馬(ma)(ma)身(shen)(shen),而(er)采用(yong)元明(ming)(ming)雜(za)劇(ju)的(de)(de)(de)(de)(de)方(fang)式,將(jiang)馬(ma)(ma)形扎于身(shen)(shen)上(shang),隨著鑼鼓打(da)出的(de)(de)(de)(de)(de)馬(ma)(ma)蹄聲(sheng)(sheng)應節(jie)而(er)舞,作出跑馬(ma)(ma)的(de)(de)(de)(de)(de)身(shen)(shen)段(duan)。這種(zhong)古老的(de)(de)(de)(de)(de)表演方(fang)式在(zai)其他劇(ju)種(zhong)中(zhong)(zhong)早(zao)已絕(jue)跡,而(er)惟獨在(zai)宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)中(zhong)(zhong)保存下來(lai)了。宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi)宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)戲(xi)(xi)(xi),地方(fang)大戲(xi)(xi)(xi)劇(ju)種(zhong)。舊稱宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)班(ban)、明(ming)(ming)末(mo)(mo)(mo)清初開始專(zhuan)唱(chang)“宜(yi)(yi)黃(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)(huang)腔(qiang)(qiang)(qiang)”。
江西宜黃戲原先專唱宜黃腔,到(dao)了清朝同治年間,又(you)從贛劇(ju)中吸(xi)收了西皮調(diao),最后也(ye)變(bian)為皮黃戲劇(ju)種(zhong)。但其傳(chuan)統劇(ju)目,仍是宜黃戲多于西皮戲。
宜(yi)黃戲的曲調(diao)主要有(you)宜(yi)黃腔(二凡(fan))、反調(diao)(凡(fan)字)、嗩吶二凡(fan)、西皮浙調(diao)、南北詞等。還有(you)其它一些腔調(diao)及民間小調(diao)。
宜黃戲(xi)的唱腔較(jiao)原(yuan)始,平直,拖腔少而短,老(lao)生老(lao)旦用本嗓,小生大小嗓結合(he)而尾音(yin)常(chang)翻高八度(du),男(nan)女同腔同調(diao)。現宜黃戲(xi)以(yi)二(er)犯、凡字(zi)、西皮垛子等幾種聲腔旋律為(wei)骨,以(yi)當地(di)(di)民(min)歌、地(di)(di)方(fang)小調(diao)為(wei)肉(rou),對一些(xie)傳統(tong)戲(xi)和現代戲(xi)的唱腔作(zuo)革新,念白采用“宜黃官話”上韻。
在宜(yi)黃戲歷史考(kao)查方面,專家們作了大量的資料考(kao)證(zheng),“二黃”源于“宜(yi)黃腔”的見解,已引起學術界的高度重視(shi)。
宜黃戲著名老藝人有(you)李伍仂、李宗保,著名演(yan)員有(you)應用賢(xian)、熊碧云等(deng)。
宜(yi)黃戲的(de)(de)(de)唱(chang)(chang)腔(qiang)(qiang)音樂包括(kuo)宜(yi)黃腔(qiang)(qiang)(二凡(fan))、反調(凡(fan)字(zi))、嗩吶二凡(fan)、西(xi)皮、浙調、南北詞等,并且還保留(liu)西(xi)秦腔(qiang)(qiang)時(shi)代的(de)(de)(de)吹腔(qiang)(qiang),俗名“平板吹腔(qiang)(qiang)”。宜(yi)黃戲唱(chang)(chang)腔(qiang)(qiang)音樂的(de)(de)(de)板式結(jie)構(gou)為上(shang)下對偶格式,由一對或多(duo)對上(shang)下句(ju)的(de)(de)(de)反復形成唱(chang)(chang)段。每句(ju)唱(chang)(chang)詞為比較正規(gui)的(de)(de)(de)七字(zi)句(ju)和十(shi)字(zi)句(ju)。旋律特征為簡單質樸(pu)、起唱(chang)(chang)與落腔(qiang)(qiang)音少(shao)而聲短,以字(zi)就腔(qiang)(qiang),近似口語,曲調音域(yu)不(bu)寬(kuan),多(duo)在(zai)六(liu)度范圍(wei)之(zhi)內(nei)回旋。宜(yi)黃腔(qiang)(qiang)主要以宜(yi)黃官話(hua)上(shang)韻,演唱(chang)(chang)時(shi)男(nan)女同調不(bu)同腔(qiang)(qiang)。男(nan)腔(qiang)(qiang)用(yong)本嗓,包括(kuo)正生(sheng)、老(lao)生(sheng)、花臉、老(lao)旦(dan);女腔(qiang)(qiang)用(yong)小(xiao)嗓,包括(kuo)小(xiao)旦(dan)、小(xiao)生(sheng)、正旦(dan)。
二凡──亦作“二犯”,是宜黃(huang)(huang)戲的(de)(de)(de)主要(yao)曲調(diao)。其板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)(you):[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],又叫(jiao)[慢(man)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],一(yi)(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)(yi)眼,相(xiang)當(dang)于京劇的(de)(de)(de)二黃(huang)(huang)原板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban);[ 簡板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],又叫(jiao)[快(kuai)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],一(yi)(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)(yi)眼,速度(du)略快(kuai)于正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban);[倒板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[散(san)(san)唱(chang)],無(wu)(wu)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)無(wu)(wu)眼,自由(you)節(jie)奏(zou),為唱(chang)段的(de)(de)(de)第一(yi)(yi)(yi)(yi)句(ju),下(xia)接[十(shi)八板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)];[十(shi)八板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]帶(dai)有(you)(you)垛句(ju)子(zi),最(zui)后有(you)(you)一(yi)(yi)(yi)(yi)拖腔;[緊(jin)中緩],又名[緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],緊(jin)拉(la)慢(man)唱(chang),節(jie)奏(zou)自由(you),伴奏(zou)時有(you)(you)上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、不上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)兩種,上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)(de)(de)節(jie)奏(zou)感(gan)強一(yi)(yi)(yi)(yi)些,叫(jiao)[搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],不上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)(de)(de)叫(jiao)[散(san)(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)];[平(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],一(yi)(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)(yi)眼,有(you)(you)快(kuai)、慢(man)兩種,[平(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]無(wu)(wu)過(guo)門(men),[頂(ding)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]開(kai)口,后借用(yong)了[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]的(de)(de)(de)過(guo)門(men)。另(ling)外有(you)(you)種[平(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]轉[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]的(de)(de)(de)唱(chang)腔,即前三(san)句(ju)唱(chang)[平(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],從第四句(ju)開(kai)始(shi)轉唱(chang)[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[斬(zhan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[滿(man)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],相(xiang)當(dang)于京劇的(de)(de)(de)[碰板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]或[頂(ding)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]。它不是獨立的(de)(de)(de)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi),因劇情的(de)(de)(de)需(xu)要(yao)而用(yong),開(kai)唱(chang)時省去過(guo)門(men),如(ru)《三(san)娘教子(zi)》正旦唱(chang)的(de)(de)(de)“老薛保”一(yi)(yi)(yi)(yi)段起板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)即是。宜黃(huang)(huang)腔從散(san)(san)唱(chang)到上(shang)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)以后,也只(zhi)是發展為一(yi)(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)一(yi)(yi)(yi)(yi)眼的(de)(de)(de)[正板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[簡板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)],而無(wu)(wu)一(yi)(yi)(yi)(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)三(san)眼的(de)(de)(de)[慢(man)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]和[中板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]。散(san)(san)唱(chang)形式(shi)也僅有(you)(you)[緊(jin)中緩]而未分出[散(san)(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]、[滾(gun)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)]等。
凡(fan)(fan)字──又名“還魂(hun)腔”、“陰司調(diao)”。類似京(jing)劇中反二黃。其腔來源于(yu)(yu)青陽(yang)腔的(de)曲牌[苦飛子],首先(xian)在湖北黃梅戲中加工、應用(yong),后來在宜黃戲中定(ding)型。其音調(diao)低沉傷感,如泣如訴(su),多(duo)用(yong)于(yu)(yu)哭靈、托(tuo)夢(meng)時訴(su)說哀苦之情(qing)(qing)。胡琴定(ding)弦為(wei)“1- 5”,為(wei)二凡(fan)(fan)“5-2”的(de)反線(xian),故又名“反字”。有(you)時以嗩吶伴奏, 配以大鑼大鼓,更增肅穆(mu)、悲苦之情(qing)(qing),其板式用(yong)于(yu)(yu)二凡(fan)(fan)。
嗩(suo)吶二凡──以嗩(suo)吶為(wei)主(zhu)要樂器,其唱腔(qiang)(qiang)宜于抒發高亢悲壯的(de)情緒。這種腔(qiang)(qiang)調早期的(de)板(ban)(ban)(ban)式結構,分為(wei)[倒板(ban)(ban)(ban)]、[正板(ban)(ban)(ban)]和[ 流水板(ban)(ban)(ban)]。其中[倒板(ban)(ban)(ban)]為(wei)四句,第一(yi)句屬倒板(ban)(ban)(ban)腔(qiang)(qiang),其余三句是(shi)散唱,第四句末尾三字,上板(ban)(ban)(ban)出現一(yi)小拖腔(qiang)(qiang),下接(jie)一(yi)板(ban)(ban)(ban)一(yi)眼的(de)正板(ban)(ban)(ban),句數(shu)不等,再轉緊打慢唱的(de)流水板(ban)(ban)(ban)。
西(xi)皮──系來自贛劇的貴溪班。有[倒板(ban)(ban)(ban)]、[正(zheng)板(ban)(ban)(ban)]、[垛子]、[搖(yao)板(ban)(ban)(ban)]、[快板(ban)(ban)(ban)]等(deng)板(ban)(ban)(ban)式,男女腔不(bu)同,較特別的是,女腔正(zheng)板(ban)(ban)(ban)上下(xia)句均為板(ban)(ban)(ban)上開口。
浙(zhe)調、南北詞──外(wai)劇種傳入。浙(zhe)調有(you)(you)[倒板(ban)(ban)]、[平板(ban)(ban) ]、[疊(die)板(ban)(ban)]、[流水]等(deng)(deng),用笛或(huo)小(xiao)嗩(suo)吶(na)伴(ban)奏,歡快(kuai)跳躍。南北詞原(yuan)系民間坐唱(chang)(chang)的一種聲腔,曲調優美(mei)、通俗,長于(yu)抒情。南詞板(ban)(ban)式有(you)(you)[原(yuan)板(ban)(ban)]、[快(kuai)板(ban)(ban)]、[尾聲]等(deng)(deng);北詞有(you)(you)[原(yuan)板(ban)(ban)]、[快(kuai)板(ban)(ban)]、[疊(die)板(ban)(ban)]等(deng)(deng)。演唱(chang)(chang)的劇目有(you)(you)《牡丹對藥》、《拜(bai)月》、《白蛇傳》等(deng)(deng)。
宜黃(huang)戲(xi)的(de)(de)(de)表演(yan)粗獷、古樸。唱念做打,程式嚴謹;一招一式,循規蹈(dao)矩(ju)。平時(shi)練(lian)功要求(qiu)甚嚴,相傳有“腋下夾(jia)蛋,頸旁(pang)備針”之說。武將“起霸”做出的(de)(de)(de)“雙手撐(cheng)天”,要根據人(ren)物(wu)的(de)(de)(de)不同身份而分別(bie)采(cai)用(yong)“龍爪”或“虎爪”等不同的(de)(de)(de)姿態。馬(ma)(ma)(ma)(ma)鞭(bian)也根據人(ren)物(wu)的(de)(de)(de)不同身份而區別(bie)使(shi)用(yong),有“龍頭(tou)(tou)”、“鳳尾”數種(zhong)(zhong),或木刻(ke),或絲編,帝(di)王則用(yong)“龍頭(tou)(tou)”鞭(bian),稱為乘(cheng)龍駒。《四圖齊》“花園(yuan)點(dian)馬(ma)(ma)(ma)(ma)”一折,齊景公(gong)點(dian)馬(ma)(ma)(ma)(ma)時(shi),鐘離春和(he)四個女(nv)兵不用(yong)鞭(bian)代馬(ma)(ma)(ma)(ma),卻采(cai)用(yong)元明雜劇的(de)(de)(de)騎車(che)馬(ma)(ma)(ma)(ma),即(ji)以馬(ma)(ma)(ma)(ma)形扎于身上,隨著鑼鼓(gu)打出的(de)(de)(de)馬(ma)(ma)(ma)(ma)蹄聲,應節而舞(wu),作出某(mou)種(zhong)(zhong)跑馬(ma)(ma)(ma)(ma)身段,滿臺來往穿(chuan)梭,效果(guo)強烈,別(bie)具(ju)一格。這種(zhong)(zhong)古老的(de)(de)(de)表演(yan)方式在其(qi)他(ta)劇種(zhong)(zhong)早已絕見,而唯獨在宜黃(huang)戲(xi)中保存下來了。
宜(yi)黃戲凈角(jiao)的表演(yan)大(da)(da)多(duo)豪放、爽(shuang)直;生角(jiao)的表演(yan)大(da)(da)多(duo)儒雅(ya)、大(da)(da)方(fang)。生、凈常用(yong)的身(shen)段表演(yan)有(you):修書(shu)、閱信(奏折)、上(下(xia))馬、點(吹(chui))燈(deng)、舞劍、飲(yin)酒、升(sheng)堂、坐帳等(deng);必(bi)備基本功有(you)“搶背(bei)”、“撲虎”、“旋子”、“克子”、“僵(jiang)尸(shi)”以及甩發動等(deng);基本步(bu)(bu)法有(you)“方(fang)步(bu)(bu)”、“蹉步(bu)(bu)”、“墊(dian)步(bu)(bu)”、“跪步(bu)(bu)”等(deng)。旦角(jiao)的表演(yan)大(da)(da)多(duo)端莊、嫻靜。常用(yong)的身(shen)段表演(yan)有(you):開(關)門(men)、灑(sa)掃、撫(fu)琴、卷簾、妝扮(ban)等(deng);必(bi)備基本功有(you)“臥(wo)云”、“鷂(yao)子翻身(shen)”、“烏龍絞柱(zhu)”以及水袖功等(deng)。
宜(yi)(yi)(yi)黃(huang)(huang)(huang)戲(xi)的(de)傳(chuan)統劇(ju)目(mu)(mu)頗為豐富(fu),大、小約有五(wu)(wu)百(bai)余種,但絕大多數已(yi)經失(shi)傳(chuan),多是(shi)以(yi)腔(qiang)(qiang)定(ding)本。其(qi)內容以(yi)演歷史(shi)故事為主,其(qi)曲調以(yi)唱宜(yi)(yi)(yi)黃(huang)(huang)(huang)腔(qiang)(qiang)居多。據已(yi)知的(de)宜(yi)(yi)(yi)黃(huang)(huang)(huang)戲(xi)早期劇(ju)目(mu)(mu)中,專(zhuan)唱宜(yi)(yi)(yi)黃(huang)(huang)(huang)腔(qiang)(qiang)的(de)有五(wu)(wu)十八種,這是(shi)現(xian)今全國(guo)皮(pi)黃(huang)(huang)(huang)戲(xi)劇(ju)目(mu)(mu)保留二黃(huang)(huang)(huang)腔(qiang)(qiang)最多的(de)一個古老劇(ju)種。由于宜(yi)(yi)(yi)黃(huang)(huang)(huang)腔(qiang)(qiang)發源于西秦(qin)(qin)腔(qiang)(qiang),同時,又因受(shou)秦(qin)(qin)腔(qiang)(qiang)的(de)影響,所以(yi)在宜(yi)(yi)(yi)黃(huang)(huang)(huang)戲(xi)的(de)基(ji)本劇(ju)目(mu)(mu)里(li),傳(chuan)自西秦(qin)(qin)腔(qiang)(qiang)的(de)二十種之多,即《清官冊》、《五(wu)(wu)雷陣(zhen)(zhen)》、《鬧沙河(he)》、《藥茶記(ji)》、《三官堂》、《肉(rou)龍(long)頭》、《松蓬會》、《寶蓮(lian)燈》、《萬里(li)侯》、《下(xia)河(he)東》、《奇雙(shuang)(shuang)(shuang)配(pei)》、《雙(shuang)(shuang)(shuang)救駕》、《雙(shuang)(shuang)(shuang)貴圖(tu)》、《雙(shuang)(shuang)(shuang)釘案》、《四國(guo)齊》、《打金冠》、《打登州(zhou)》、《雌(ci)雄(xiong)鞭》、《孟津會》、《慶陽(yang)圖(tu)》等。移植于秦(qin)(qin)腔(qiang)(qiang)的(de)有十三種,即《雙(shuang)(shuang)(shuang)龍(long)會》、《上(shang)天臺》、《黃(huang)(huang)(huang)金塔》、《定(ding)中原》、《鎖五(wu)(wu)龍(long)》、《老君堂》、《五(wu)(wu)龍(long)會》、《紫金鏢(biao)》、《蘆(lu)花(hua)河(he)》、《飛(fei)龍(long)傳(chuan)》、《下(xia)南唐》、《五(wu)(wu)雄(xiong)陣(zhen)(zhen)》、《錦羅帳》等。西皮(pi)戲(xi)不多,直至清末,也只有《月(yue)明樓》、《江東橋》、《春秋配(pei)》等十余出。
宜黃戲(xi)的(de)(de)藝(yi)術(shu)古樸,表演(yan)嚴謹。有些演(yan)出(chu)劇目(mu)還保留了早期(qi)的(de)(de)關目(mu)和排場,如《龍鳳閣(ge)》一劇,較(jiao)京劇多出(chu)《趙飛搬兵》、《抱龍登(deng)基》等場次。
1957年,在(zai)宜(yi)黃(huang)縣成立了宜(yi)黃(huang)戲(xi)(xi)專業(ye)劇(ju)團后,進(jin)行了大量的(de)挖掘(jue)、整理傳(chuan)統劇(ju)目(mu)工作(zuo),使能(neng)夠(gou)經常上(shang)演(yan)的(de)傳(chuan)統劇(ju)目(mu)達七十多個。同年,宜(yi)黃(huang)戲(xi)(xi)赴省匯報演(yan)出了《龍鳳閣(ge)》、《奇(qi)雙配》、《朱(zhu)砂(sha)印(yin)》、《攔(lan)江(jiang)救主》、《拷(kao)打(da)春桃》等劇(ju)目(mu)。1958年,中國唱(chang)片公司將《奇(qi)雙配》中李奇(qi)“哭(ku)監”和《孫氏(shi)祭(ji)江(jiang)》中孫尚香“祭(ji)江(jiang)”唱(chang)段錄(lu)制成唱(chang)片。整理改編的(de)傳(chuan)統劇(ju)目(mu)《八(ba)仙飄(piao)海》、《賣梨(li)招親(qin)》、《陳琳拷(kao)寇》、《齊王哭(ku)殿》、《思(si)春》等,在(zai)省、市匯演(yan)時都受到(dao)獎勵。同時,還移植了《蘆蕩火種》、《奪(duo)印(yin)》,自編了《第(di)一爐銅(tong)》、《焦裕祿(lu)》、《革命女兒》、《送郎當紅軍》、《表(biao)》、《兩篇作(zuo)文》、《山(shan)城春曉》、《兄弟,開槍吧》等現代(dai)宜(yi)黃(huang)戲(xi)(xi)。
宜黃戲(xi)傳統劇(ju)目(mu)豐富,特(te)色鮮明,旋律簡單(dan)平直(zhi),尤以平板有特(te)殊的地(di)位(wei)和(he)用(yong)法(fa),以至(zhi)許(xu)多人(ren)把它看成是二凡的一種板式;整本戲(xi)多,故事性強;角色分工細致,唱腔簡煉樸實,唱腔口語(yu)化,易學(xue)易懂;表(biao)演粗獷大方(fang),唱做念打(da)形成一套(tao)既嚴謹而又靈活(huo)的程式,用(yong)胡琴(qin)伴(ban)奏,地(di)方(fang)色彩很濃(nong),與京劇(ju)、贛劇(ju)很不(bu)(bu)相同(tong);是能(neng)適應表(biao)現各(ge)種不(bu)(bu)同(tong)性格的人(ren)物和(he)不(bu)(bu)同(tong)時代、內容的劇(ju)目(mu)。
具體說,宜(yi)黃戲的(de)鮮明特點主要體現在聲腔(qiang)方面。宜(yi)黃戲聲腔(qiang)眾多,屬亂(luan)彈系(xi)統板(ban)腔(qiang)體。其包括有(you):宜(yi)黃腔(qiang)(二(er)凡、平板(ban)、反二(er)凡),西皮、浙調、吹(chui)腔(qiang)、撥子、南北詞和(he)昆曲、小調等近十(shi)種,均各(ge)具特色。
宜黃戲的演唱(chang)(chang)特點是旦行(xing)用小(xiao)嗓(sang)、小(xiao)生(sheng)真假嗓(sang)結合(he),其它行(xing)當用大(da)嗓(sang)。演唱(chang)(chang)時講究吐(tu)字清晰、音隨字走。傳統唱(chang)(chang)腔中,襯字運用很多,幾(ji)乎每句均有(you)。行(xing)腔中常(chang)用倚音、波音和下滑音等潤腔手法。語言(yan)用的是中州韻,只是丑角(jiao)多用宜黃方言(yan)。
椐統計(ji),在整本戲中,專(zhuan)唱宜黃腔(qiang)的(de)有(you)81出(chu)(chu)。其中,繼承西(xi)秦腔(qiang)的(de)劇目有(you)《清官(guan)冊》、《王雪陳(chen)》、《鬧(nao)沙河》……等20出(chu)(chu);移植秦腔(qiang)的(de)劇目有(you)《雙龍會(hui)》、《上天(tian)臺》、《黃金(jin)塔》……等12出(chu)(chu);依腔(qiang)定本、編創新(xin)的(de)劇目有(you)《滿門(men)賢》、《天(tian)緣配》、《錦羅(luo)帳》、《九炎山》、《三代(dai)榮》……等39出(chu)(chu)。
宜(yi)黃戲,宜(yi)黃腔在(zai)(zai)中國戲曲史上顯示出耀眼光芒和四射魅力,它的繼續存(cun)在(zai)(zai)仍有不(bu)可替代的作(zuo)用和重要價值(zhi)。歸納主要有三:
一、學術研(yan)究(jiu)(jiu)價值。“宜黃(huang)腔”、宜黃(huang)戲(xi)的形成(cheng)、發展、演變(bian)(bian)和興衰(shuai)過程已成(cheng)為中國戲(xi)曲(qu)史的一個(ge)縮(suo)影。對于探索研(yan)究(jiu)(jiu),戲(xi)曲(qu)演變(bian)(bian)規律是理想的標(biao)本。
二、獨特(te)的(de)藝(yi)術價值。古(gu)(gu)老的(de)宜黃戲經幾百年(nian)歷史長河沖涮和錘煉(lian)精華積增,藝(yi)技雙(shuang)高、獨特(te)的(de)“宜黃腔”永葆當(dang)年(nian)的(de)美妙,更顯古(gu)(gu)色古(gu)(gu)香楚楚動人。積存(cun)的(de)三(san)百多個(ge)優秀(xiu)劇目,已成中(zhong)國戲曲寶(bao)庫中(zhong)的(de)珍品、上(shang)品。
三、演出欣賞價(jia)值(zhi)。幾百年(nian)來宜黃戲(xi)以其鮮(xian)明的(de)(de)表(biao)演風格、優美的(de)(de)聲腔(qiang)和(he)(he)人人愛聽能(neng)懂的(de)(de)語言(yan)及不斷更新(xin)的(de)(de)劇目活躍在省內外各地(di)的(de)(de)舞臺,受到廣(guang)大觀眾(zhong)和(he)(he)戲(xi)迷的(de)(de)喜(xi)愛。時至今日,仍然魅力(li)不減、隨著旅游文(wen)化的(de)(de)發展,越來越多的(de)(de)新(xin)觀眾(zhong)加入進來,他(她)們(men)翹首以待,宜黃戲(xi)在更多的(de)(de)舞臺上再放(fang)光彩。
經專(zhuan)家研(yan)究,二簧(huang)實(shi)源于宜(yi)(yi)黃(huang)腔(qiang),宜(yi)(yi)黃(huang)戲(xi)由此在中(zhong)國戲(xi)曲(qu)史上(shang)占有(you)了(le)突出的(de)(de)(de)地位,它的(de)(de)(de)形成、發(fa)展(zhan)、衰落過程(cheng)已成為戲(xi)曲(qu)史的(de)(de)(de)一(yi)個(ge)縮影,因此宜(yi)(yi)黃(huang)戲(xi)正是探索研(yan)究戲(xi)曲(qu)衍(yan)變規律的(de)(de)(de)理想(xiang)標本。已知的(de)(de)(de)宜(yi)(yi)黃(huang)戲(xi)早期劇(ju)目中(zhong)專(zhuan)唱(chang)宜(yi)(yi)黃(huang)腔(qiang)的(de)(de)(de)有(you)58種(zhong)(zhong),這使得宜(yi)(yi)黃(huang)戲(xi)成為全國保留(liu)二簧(huang)腔(qiang)最多的(de)(de)(de)一(yi)個(ge)劇(ju)種(zhong)(zhong)。在當今(jin)社會(hui),宜(yi)(yi)黃(huang)戲(xi)的(de)(de)(de)生存、發(fa)展(zhan)面臨著重重危(wei)機,有(you)必要從調撥資金、加強宣傳、培養后繼力量等方面入手,使這個(ge)古(gu)老的(de)(de)(de)劇(ju)種(zhong)(zhong)獲得一(yi)個(ge)合適的(de)(de)(de)生存環境,長留(liu)于世。