1、碗碗腔(孝義碗碗腔),編號:Ⅳ-49
(1)批次/類型:2006年(第一批),新增項目
(2)申報地區或單位:山西省孝義市
(3)保護單位:孝義市碗碗腔劇團演出有限公司
2、碗碗腔(曲沃碗碗腔),編號:Ⅳ-49
(1)批次/類型:2011年(第三批),擴展項目
(2)申報地區或單位:山西省曲沃縣
(3)保護單位:曲沃縣晉韻碗碗腔演藝有限責任公司
3、碗碗腔(渭南碗碗腔),編號:Ⅳ-49
(1)批次/類型:2021年(第五批),擴展項目
(2)申報地區或單(dan)位:陜西省渭南(nan)市(shi)臨(lin)渭區
碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(華劇),源于民間說(shuo)唱藝術(shu),是(shi)陜西省地方(fang)戲曲劇種之一(yi),是(shi)以碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)、月琴為主(zhu),并配(pei)以二(er)弦、胡琴、邊鼓、梆于、馬鑼和嗩(suo)吶等,特別(bie)是(shi)因敲擊碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)確定(ding)樂曲的輕(qing)重緩急(ji),故而稱其為 “碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔”;碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔在形成過程中吸收老腔的藝術(shu)成分較(jiao)多,為與老腔相區別(bie),它又被關中東府人稱為“時腔”。
1958年(nian),陜(shan)西省戲曲研究院(yuan)進京匯報(bao)演出,周恩來(lai)等(deng)領(ling)導對民(min)(min)樂伴(ban)奏十分欣賞(shang),還(huan)跟李瑞芳(fang)學唱(chang)了“九道彎”的唱(chang)腔(qiang),李瑞芳(fang)給(gei)總(zong)理介(jie)紹到這是陜(shan)西地方曲種(zhong)碗(wan)(wan)碗(wan)(wan)腔(qiang)發源于(yu)西岳華山麓(lu)下華陰、華縣一代(dai),周總(zong)理聽后覺得曲調(diao)很好聽,就是名(ming)字有些繞口,于(yu)是給(gei)碗(wan)(wan)碗(wan)(wan)腔(qiang)定(ding)名(ming)為“華劇”蘊含(han)中華之意。但(dan)在民(min)(min)間(jian)人們一般還(huan)稱(cheng)“碗(wan)(wan)碗(wan)(wan)腔(qiang)”。
碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)的(de)形成年(nian)(nian)代無準確的(de)文字記載可考,只能根據(ju)一些年(nian)(nian)代久遠的(de)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)唱(chang)詞劇本來調查分析。清乾隆初年(nian)(nian),西(xi)安有(you)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)班社的(de)演(yan)(yan)出(chu);演(yan)(yan)出(chu)以皮影形式出(chu)現,比較簡單。相傳洋縣碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(漢中一帶(dai))在乾隆時期由(you)洋縣萬家(jia)宮藝(yi)(yi)人(ren)雍(yong)朝杰(jie)所創。雍(yong)原為皮影桄桄戲藝(yi)(yi)人(ren),赴渭北演(yan)(yan)出(chu)中,在朝邑(今大荔)學(xue)得碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)后(hou),與桄桄唱(chang)腔(qiang)結合,后(hou)其子雍(yong)可敬(貓娃(wa))與徒弟福娃(wa)又吸收了道情唱(chang)腔(qiang),逐漸形成別具一格的(de)皮影碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)。
清(qing)乾隆年間(1736-1795)根據現有史料查證,當(dang)時碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔相(xiang)(xiang)當(dang)流行,各(ge)種唱(chang)板已相(xiang)(xiang)當(dang)齊備,且產生了有名的(de)(de)劇(ju)作家(jia)李十(shi)三,及其(qi)作品“十(shi)大本(ben)”。說明碗(wan)(wan)(wan)腕腔的(de)(de)產生、形(xing)成和發展,至少經歷了三百年以(yi)上的(de)(de)歷史。就(jiu)渭(wei)南人李芳桂(gui)的(de)(de)“十(shi)大本(ben)”中的(de)(de)唱(chang)詞(ci)結構分析,可(ke)斷定(ding)當(dang)時碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔的(de)(de)主要唱(chang)腔已經形(xing)成。其(qi)主要分布于陜西大荔(li)(同州)、朝邑(yi)、蒲城、渭(wei)南、臨(lin)潼、華陰、華縣、富平、韓城等地區。
道(dao)光、咸豐年間(jian)(1821-1861)已發展(zhan)為(wei)(wei)十(shi)余箱班,西府(fu)(fu)鳳翔碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)有早于東府(fu)(fu)(同(tong)州)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)之說,清中(zhong)葉后盛行(xing),流行(xing)于鳳翔、千陽一帶(dai)。此外,陜北(bei)的(de)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)自成一格,在(zai)(zai)綏(sui)德義合鎮形成,流行(xing)于綏(sui)德、米脂一帶(dai),唱腔(qiang)(qiang)(qiang)上受晉劇(ju)影(ying)響(xiang)較(jiao)大。皮影(ying)戲時期,在(zai)(zai)陜西發展(zhan)為(wei)(wei):東路(lu),以(yi)舊(jiu)同(tong)州府(fu)(fu)為(wei)(wei)中(zhong)心,也(ye)叫(jiao)東府(fu)(fu)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(渭(wei)南(nan));西路(lu),以(yi)鳳翔府(fu)(fu)為(wei)(wei)中(zhong)心,也(ye)叫(jiao)西府(fu)(fu)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(寶雞);以(yi)洋縣為(wei)(wei)中(zhong)心的(de)陜南(nan)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(漢(han)中(zhong))與(yu)東路(lu)有一定的(de)淵(yuan)源關系。
光緒(xu)三年(1877)前后(hou),大(da)荔(li)一(yi)(yi)(yi)(yi)帶藝(yi)(yi)人(ren)(ren)(ren)因荒(huang)災,逃(tao)荒(huang)入山(shan)(shan)西(xi)(xi)(xi),碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔傳(chuan)入山(shan)(shan)西(xi)(xi)(xi)汾(fen)(fen)陽(yang)、曲(qu)(qu)(qu)沃、新絳(jiang)及汾(fen)(fen)陽(yang)、孝(xiao)義一(yi)(yi)(yi)(yi)帶,遂(sui)形(xing)(xing)成(cheng)山(shan)(shan)西(xi)(xi)(xi)的(de)(de)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔。據孝(xiao)義皮(pi)影(ying)(ying)藝(yi)(yi)人(ren)(ren)(ren)相傳(chuan),山(shan)(shan)西(xi)(xi)(xi)的(de)(de)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔分為(wei)兩路(lu)(lu),一(yi)(yi)(yi)(yi)路(lu)(lu)流行于晉南曲(qu)(qu)(qu)沃、新絳(jiang)一(yi)(yi)(yi)(yi)帶,一(yi)(yi)(yi)(yi)路(lu)(lu)流行于晉中汾(fen)(fen)陽(yang)、孝(xiao)義一(yi)(yi)(yi)(yi)帶。各路(lu)(lu)在發展過程中,由(you)于受不同地區語(yu)言(yan)、民間音(yin)樂和劇(ju)種(zhong)的(de)(de)影(ying)(ying)響(xiang),在劇(ju)目、音(yin)樂、唱腔、樂器(qi)等方面(mian)也逐漸各具特點,自成(cheng)體系,已(yi)成(cheng)為(wei)當(dang)(dang)地的(de)(de)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔皮(pi)影(ying)(ying)劇(ju)種(zhong)。其中傳(chuan)入汾(fen)(fen)陽(yang)、孝(xiao)義的(de)(de)一(yi)(yi)(yi)(yi)支,受中路(lu)(lu)梆(bang)子(zi)和汾(fen)(fen)孝(xiao)秧歌的(de)(de)影(ying)(ying)響(xiang)而形(xing)(xing)成(cheng)孝(xiao)義碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔。另外,曲(qu)(qu)(qu)沃碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔原系陜(shan)西(xi)(xi)(xi)東部(bu)華陰、大(da)荔(li)一(yi)(yi)(yi)(yi)帶皮(pi)影(ying)(ying)戲(xi)的(de)(de)唱腔。老藝(yi)(yi)人(ren)(ren)(ren)認為(wei)曲(qu)(qu)(qu)沃碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔是(shi)由(you)陜(shan)西(xi)(xi)(xi)經商(shang)的(de)(de)商(shang)人(ren)(ren)(ren)引(yin)入而來(lai),由(you)于歷(li)史上秦晉交好,經濟、文(wen)化互相交流的(de)(de)佳(jia)話大(da)量見(jian)諸(zhu)史書,通(tong)過商(shang)人(ren)(ren)(ren)引(yin)入這種(zhong)藝(yi)(yi)術(shu)形(xing)(xing)式的(de)(de)說(shuo)法是(shi)有(you)根據的(de)(de)。引(yin)入后(hou),當(dang)(dang)地人(ren)(ren)(ren)喜歡(huan)(huan)并效仿,遂(sui)得以流傳(chuan)。剛開(kai)始的(de)(de)時候,僅在鄉村(cun)的(de)(de)土(tu)臺、門庭、街口(kou)臨時搭臺演(yan)出,因其形(xing)(xing)式活潑(po),曲(qu)(qu)(qu)調動聽,班(ban)(ban)社小(xiao),要價(jia)低,很受歡(huan)(huan)迎。光緒(xu)中期(qi),兌鎮后(hou)莊的(de)(de)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔皮(pi)影(ying)(ying)藝(yi)(yi)人(ren)(ren)(ren)劉(liu)夠清,曾兩次赴(fu)陜(shan)學習(xi)紗窗皮(pi)影(ying)(ying)的(de)(de)雕刻藝(yi)(yi)術(shu),當(dang)(dang)地不少青年人(ren)(ren)(ren)加(jia)入影(ying)(ying)戲(xi)班(ban)(ban),職業(ye)和半職業(ye)性質的(de)(de)戲(xi)班(ban)(ban)逐年遞增(zeng),并吸(xi)收了木偶戲(xi)和晉劇(ju)、蒲劇(ju)的(de)(de)一(yi)(yi)(yi)(yi)些劇(ju)目。至光緒(xu)末期(qi),孝(xiao)義碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔的(de)(de)影(ying)(ying)戲(xi)班(ban)(ban)子(zi)已(yi)達六(liu)七(qi)十個(ge),演(yan)出遍布全(quan)晉,還遠(yuan)達寧夏、遼寧等地。
辛亥革命(ming)前后(hou)又(you)有發展,取代了皮影(ying)桄(guang)桄(guang)戲,其流(liu)行(xing)地(di)區主要在洋縣東(dong)鄉;同州、朝邑(yi)兩地(di)有50多(duo)個班(ban)社。
民國初年,曲沃碗碗腔(qiang)進入興盛(sheng)期,出現很多班(ban)(ban)社,主要有陳小(xiao)班(ban)(ban)、大(da)富班(ban)(ban)、保子(zi)班(ban)(ban)等,形成了不同的(de)藝術流派(pai)。每年的(de)元宵節(jie)和七月古廟會(hui)在(zai)縣城競相(xiang)開臺。上演劇目的(de)內容以(yi)神話戲和武打戲為主,也(ye)有一部分是專供紅(hong)白喜事和還愿(yuan)的(de)演出劇目。演出的(de)范(fan)圍(wei)擴大(da)到了解州(zhou)、絳州(zhou)等周邊地(di)域。
建(jian)國(guo)前,陜西(xi)(xi)的(de)各(ge)支(zhi)皮影(ying)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)先(xian)后衰落。西(xi)(xi)府碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)大(da)致在20世紀30年(nian)代已告(gao)絕跡,其余也在建(jian)國(guo)前夕(xi)消(xiao)失。建(jian)國(guo)后,經(jing)有(you)關部(bu)門的(de)挖掘、搶救,各(ge)支(zhi)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)先(xian)后發展(zhan)為(wei)戲(xi)曲(qu)(qu)(qu)劇種。其東府、西(xi)(xi)府兩支(zhi)于建(jian)國(guo)初期(qi)由陜西(xi)(xi)省(sheng)戲(xi)曲(qu)(qu)(qu)劇院(yuan)搬上戲(xi)曲(qu)(qu)(qu)舞臺,繼而洋(yang)縣(xian)(xian)人民(min)劇團將洋(yang)縣(xian)(xian)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)發展(zhan)為(wei)戲(xi)曲(qu)(qu)(qu)形式。主(zhu)要盛行(xing)于陜西(xi)(xi)大(da)荔、朝邑、渭南、西(xi)(xi)安、戶縣(xian)(xian)、綏德、米脂、洋(yang)縣(xian)(xian)、西(xi)(xi)鄉等地。山(shan)西(xi)(xi)晉(jin)南及晉(jin)中的(de)孝義,河南西(xi)(xi)部(bu)的(de)靈寶(bao)、陜縣(xian)(xian)、盧氏,甘肅的(de)蘭州(zhou)等地也有(you)流(liu)行(xing)。
1949年(nian)(nian)(nian)(nian)(nian)以后(hou),曲(qu)(qu)(qu)沃(wo)(wo)縣正式成(cheng)(cheng)立(li)了(le)(le)專業劇團,并廣泛吸收蒲(pu)州梆(bang)子(zi)、 晉南眉(mei)戶的(de)(de)(de)(de)腔(qiang)(qiang)調、曲(qu)(qu)(qu)牌,成(cheng)(cheng)為具有(you)當地(di)特色的(de)(de)(de)(de)劇種;1950年(nian)(nian)(nian)(nian)(nian)代(dai)(dai),初,有(you)了(le)(le)女演(yan)(yan)員(yuan)(yuan),打破(po)了(le)(le)只有(you)一(yi)(yi)個男演(yan)(yan)員(yuan)(yuan)“保本”(集生、旦、凈、末、丑于一(yi)(yi)身)的(de)(de)(de)(de)單調演(yan)(yan)唱(chang),豐(feng)富了(le)(le)演(yan)(yan)唱(chang)色彩,使唱(chang)腔(qiang)(qiang)更加悅耳動(dong)聽;1952年(nian)(nian)(nian)(nian)(nian),第一(yi)(yi)屆全國(guo)(guo)戲曲(qu)(qu)(qu)觀摩演(yan)(yan)出(chu)(chu)大會后(hou),陜(shan)西(xi)(xi)省(sheng)(sheng)各(ge)地(di)皮(pi)影(ying)(ying)班社有(you)了(le)(le)很大改進(jin)(jin),有(you)的(de)(de)(de)(de)采用了(le)(le)電(dian)燈照亮,刻制了(le)(le)適應現(xian)實(shi)生活的(de)(de)(de)(de)景物,增(zeng)加了(le)(le)樂(le)(le)(le)隊演(yan)(yan)唱(chang)人(ren)(ren)員(yuan)(yuan),演(yan)(yan)出(chu)(chu)了(le)(le)現(xian)代(dai)(dai)戲,這是碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)發展(zhan)史(shi)上(shang)的(de)(de)(de)(de)一(yi)(yi)大進(jin)(jin)步(bu);1955年(nian)(nian)(nian)(nian)(nian),陜(shan)西(xi)(xi)省(sheng)(sheng)戲曲(qu)(qu)(qu)研究(jiu)(jiu)院(yuan)(yuan)眉(mei)碗(wan)(wan)(wan)(wan)團成(cheng)(cheng)立(li),使碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)藝術(shu)(shu)面貌一(yi)(yi)新;1956年(nian)(nian)(nian)(nian)(nian),陜(shan)西(xi)(xi)省(sheng)(sheng)戲曲(qu)(qu)(qu)研究(jiu)(jiu)院(yuan)(yuan)眉(mei)碗(wan)(wan)(wan)(wan)團的(de)(de)(de)(de)《金琬釵(chai)》中一(yi)(yi)折(zhe)(zhe)《借水贈釵(chai)》首次在西(xi)(xi)安(an)大型舞(wu)臺(tai)上(shang)演(yan)(yan)獲得成(cheng)(cheng)功;1958年(nian)(nian)(nian)(nian)(nian),孝義市組建碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)劇團,開始(shi)由(you)皮(pi)影(ying)(ying)戲走上(shang)真人(ren)(ren)舞(wu)臺(tai);同(tong)年(nian)(nian)(nian)(nian)(nian),陜(shan)西(xi)(xi)省(sheng)(sheng)戲曲(qu)(qu)(qu)研究(jiu)(jiu)院(yuan)(yuan)眉(mei)碗(wan)(wan)(wan)(wan)團赴北京匯報演(yan)(yan)出(chu)(chu)獲得國(guo)(guo)家領(ling)導人(ren)(ren)的(de)(de)(de)(de)親(qin)切接見(jian);1959年(nian)(nian)(nian)(nian)(nian),《金琬釵(chai)》赴大江南北13省(sheng)(sheng)(市)巡(xun)回演(yan)(yan)出(chu)(chu);1960年(nian)(nian)(nian)(nian)(nian),陜(shan)北碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)也改為舞(wu)臺(tai)劇。各(ge)支(zhi)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)均整理(li)、改編了(le)(le)一(yi)(yi)批劇目,并在音樂(le)(le)(le)唱(chang)腔(qiang)(qiang)、表演(yan)(yan)藝術(shu)(shu)、舞(wu)臺(tai)美(mei)術(shu)(shu)等方面進(jin)(jin)行了(le)(le)改革和創造;1960年(nian)(nian)(nian)(nian)(nian)3月(yue),成(cheng)(cheng)立(li)了(le)(le)曲(qu)(qu)(qu)沃(wo)(wo)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)藝術(shu)(shu)學校,招收表演(yan)(yan)、音樂(le)(le)(le)、舞(wu)美(mei)三個班,79名(ming)學生;之后(hou)演(yan)(yan)出(chu)(chu)折(zhe)(zhe)子(zi)戲《花(hua)園贈金》;成(cheng)(cheng)立(li)曲(qu)(qu)(qu)沃(wo)(wo)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)劇團,從此(ci),皮(pi)影(ying)(ying)由(you)真人(ren)(ren)代(dai)(dai)替;1964年(nian)(nian)(nian)(nian)(nian),陜(shan)西(xi)(xi)戲曲(qu)(qu)(qu)研究(jiu)(jiu)院(yuan)(yuan)眉(mei)碗(wan)(wan)(wan)(wan)團排演(yan)(yan)《江姐》;1973年(nian)(nian)(nian)(nian)(nian),排演(yan)(yan)《紅色娘子(zi)軍》、《蘆蕩火種》等現(xian)代(dai)(dai)戲,進(jin)(jin)一(yi)(yi)步(bu)擴大了(le)(le)碗(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)腔(qiang)(qiang)的(de)(de)(de)(de)影(ying)(ying)響;1977年(nian)(nian)(nian)(nian)(nian),為紀念毛主席逝世一(yi)(yi)周年(nian)(nian)(nian)(nian)(nian),陜(shan)西(xi)(xi)省(sheng)(sheng)戲曲(qu)(qu)(qu)研究(jiu)(jiu)院(yuan)(yuan)排演(yan)(yan)了(le)(le)張(zhang)曉斌移植的(de)(de)(de)(de)新編華劇《蝶戀花(hua)》。
1986年(nian)(nian),陜西省戲(xi)曲(qu)研究院(yuan)華(hua)劇(ju)(ju)(ju)團(tuan)團(tuan)長李瑞芳(fang)排(pai)(pai)演(yan)(yan)了新編(bian)華(hua)劇(ju)(ju)(ju) 《楊(yang)(yang)貴(gui)妃(fei)(fei)》,她創造(zao)性地(di)將傳統(tong)戲(xi)曲(qu)與(yu)現代(dai)音樂(le)劇(ju)(ju)(ju)熔于一(yi)爐(lu),以新穎(ying)的(de)表現手法(fa),使該劇(ju)(ju)(ju)體現出(chu)令人(ren)蕩氣回腸的(de)藝術(shu)美(mei)感。在(zai)首(shou)屆陜西省藝術(shu)節中(zhong)(zhong)獲(huo)一(yi)等獎(jiang),在(zai)中(zhong)(zhong)國藝術(shu)節西北(bei)薈萃(cui)獲(huo)金(jin)獎(jiang),獲(huo)陜西戲(xi)曲(qu)保留演(yan)(yan)出(chu)劇(ju)(ju)(ju)目(mu)(mu);1987年(nian)(nian),《楊(yang)(yang)貴(gui)妃(fei)(fei)》劇(ju)(ju)(ju)組赴香港“中(zhong)(zhong)國地(di)方(fang)戲(xi)曲(qu)展”引起反響,首(shou)次(ci)將華(hua)劇(ju)(ju)(ju)推向國際舞臺(tai),港報贊譽(yu)“楊(yang)(yang)貴(gui)妃(fei)(fei)優美(mei)提神(shen),李瑞芳(fang)一(yi)枝獨秀”;1989年(nian)(nian),排(pai)(pai)演(yan)(yan)新編(bian)華(hua)劇(ju)(ju)(ju)《法(fa)門軼(yi)事》,獲(huo)陜西省第(di)二屆藝術(shu)節銀(yin)牌獎(jiang);1992年(nian)(nian),陜西省戲(xi)曲(qu)研究院(yuan)眉碗(wan)團(tuan)排(pai)(pai)演(yan)(yan)芬蘭(lan)(lan)音樂(le)劇(ju)(ju)(ju)移植改(gai)編(bian)的(de)《真(zhen)(zhen)的(de)·真(zhen)(zhen)的(de)》,由李瑞芳(fang)與(yu)李東橋主演(yan)(yan)獲(huo)得成功,首(shou)映式芬蘭(lan)(lan)各大報刊都作了報道,同年(nian)(nian),參加中(zhong)(zhong)國戲(xi)曲(qu)“金(jin)三(san)角”交流(liu)演(yan)(yan)出(chu),獲(huo)優劇(ju)(ju)(ju)目(mu)(mu)秀獎(jiang);1993年(nian)(nian),《真(zhen)(zhen)的(de)·真(zhen)(zhen)的(de)》參加中(zhong)(zhong)國戲(xi)曲(qu)(南方(fang)片)交流(liu)演(yan)(yan)出(chu),獲(huo)優秀表演(yan)(yan)獎(jiang);1994年(nian)(nian),新編(bian)大型歷史劇(ju)(ju)(ju)《真(zhen)(zhen)的(de)·真(zhen)(zhen)的(de)》應(ying)邀赴芬蘭(lan)(lan)演(yan)(yan)出(chu);
2003年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲曲研(yan)(yan)究(jiu)(jiu)院(yuan)(yuan)眉碗(wan)(wan)(wan)(wan)(wan)(wan)團(tuan)劇(ju)(ju)(ju)目《金(jin)(jin)琬(wan)釵(chai)》已在(zai)(zai)中(zhong)央電(dian)視臺(tai)播(bo)出;2004年(nian)(nian)(nian),《金(jin)(jin)琬(wan)釵(chai)》獲(huo)陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)優秀(xiu)劇(ju)(ju)(ju)目展演(yan)優秀(xiu)配器獎(jiang);2005年(nian)(nian)(nian),《金(jin)(jin)琬(wan)釵(chai)》獲(huo)第(di)四屆陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)藝術節優秀(xiu)劇(ju)(ju)(ju)目獎(jiang);2006年(nian)(nian)(nian)5月20日(ri),碗(wan)(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)(wan)腔(qiang)經國務(wu)院(yuan)(yuan)批(pi)準列入(ru)第(di)一(yi)批(pi)國家級非(fei)物質(zhi)文化遺產名錄;2007年(nian)(nian)(nian),任小蕾出演(yan)的(de)(de)(de)碗(wan)(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)(wan)腔(qiang)折(zhe)子戲《桃園借(jie)水》在(zai)(zai)中(zhong)央電(dian)視臺(tai)播(bo)出;2008年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲曲研(yan)(yan)究(jiu)(jiu)院(yuan)(yuan)優秀(xiu)戲曲演(yan)員胡(hu)萍出演(yan)了(le)(le)(le)新(xin)編歷史劇(ju)(ju)(ju)《楊(yang)貴(gui)妃(fei)》中(zhong)一(yi)折(zhe)重(zhong)場戲《貴(gui)妃(fei)醉酒》;同(tong)年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)委、省(sheng)(sheng)政府(fu)投入(ru)巨資(zi)精心打造了(le)(le)(le)一(yi)臺(tai)以盛唐(tang)(tang)文化為(wei)主題,承了(le)(le)(le)唐(tang)(tang)宮廷舞高麗樂(le)、吸收了(le)(le)(le)陜(shan)(shan)西(xi)(xi)碗(wan)(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)(wan)腔(qiang)的(de)(de)(de)中(zhong)國首部大型實景歷史舞劇(ju)(ju)(ju)《長恨(hen)歌(ge)》在(zai)(zai)西(xi)(xi)安(an)臨(lin)潼華(hua)清池上演(yan);2009年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲曲研(yan)(yan)究(jiu)(jiu)院(yuan)(yuan)眉碗(wan)(wan)(wan)(wan)(wan)(wan)團(tuan)重(zhong)新(xin)排練(lian)《金(jin)(jin)琬(wan)釵(chai)》,保(bao)留了(le)(le)(le)原作(zuo)(zuo)精華(hua),音樂(le)上吸取(qu)了(le)(le)(le)眉戶(hu)、蒲劇(ju)(ju)(ju)等(deng)姊(zi)妹(mei)劇(ju)(ju)(ju)種(zhong)的(de)(de)(de)旋律,采取(qu)了(le)(le)(le)歌(ge)劇(ju)(ju)(ju)創(chuang)作(zuo)(zuo)中(zhong)主題音樂(le)貫穿全劇(ju)(ju)(ju)的(de)(de)(de)方法,較大程(cheng)度地豐富了(le)(le)(le)碗(wan)(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)(wan)腔(qiang)的(de)(de)(de)音樂(le)表(biao)現(xian)。舞美(mei)上運(yun)用了(le)(le)(le)現(xian)代科技手(shou)段,給人(ren)視角上的(de)(de)(de)沖擊與(yu)美(mei)感。導演(yan)手(shou)法與(yu)演(yan)員表(biao)演(yan)風格也在(zai)(zai)古典(dian)戲的(de)(de)(de)基礎上有了(le)(le)(le)更(geng)深層(ceng)次的(de)(de)(de)探(tan)索與(yu)突破。全劇(ju)(ju)(ju)舞臺(tai)呈現(xian)煥(huan)然一(yi)新(xin);同(tong)年(nian)(nian)(nian),陜(shan)(shan)西(xi)(xi)省(sheng)(sheng)戲曲研(yan)(yan)究(jiu)(jiu)院(yuan)(yuan)青年(nian)(nian)(nian)團(tuan)也出演(yan)了(le)(le)(le)多個碗(wan)(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)(wan)腔(qiang)劇(ju)(ju)(ju)目,李君梅出演(yan)的(de)(de)(de)《葬花吟》、黨莉莉出演(yan)的(de)(de)(de)《楊(yang)貴(gui)妃(fei)》、任小蕾出演(yan)的(de)(de)(de)《借(jie)水》、張玉梅出演(yan)的(de)(de)(de)《跑(pao)山》、李娟(juan)出演(yan)的(de)(de)(de)《紅色娘子軍》和李梅出演(yan)的(de)(de)(de)《十(shi)八里相送》。
2010年(nian),陜西(xi)(xi)省(sheng)戲(xi)(xi)(xi)曲研究(jiu)(jiu)院(yuan)推出(chu)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)折子戲(xi)(xi)(xi)專(zhuan)場(chang),力爭加入(ru)(ru)上海世(shi)博(bo)會,準備通過(guo)世(shi)博(bo)會將陜西(xi)(xi)的(de)民間藝(yi)術(shu)推向世(shi)界;2011年(nian),曲沃碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)經國(guo)務院(yuan)批準列入(ru)(ru)第三批國(guo)家級非物(wu)質(zhi)文化(hua)遺產(chan)名錄;2012年(nian),陜西(xi)(xi)省(sheng)戲(xi)(xi)(xi)曲研究(jiu)(jiu)院(yuan)招(zhao)收第十(shi)期演員訓練班;2013年(nian),第八(ba)個“中(zhong)(zhong)國(guo)文化(hua)遺產(chan)日”,山西(xi)(xi)省(sheng)文化(hua)廳(ting)在(zai)太原(yuan)市(shi)(shi)舉辦非物(wu)質(zhi)文化(hua)遺產(chan)傳(chuan)(chuan)統劇(ju)目展演活動,上演孝義(yi)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)木偶(ou)神話(hua)劇(ju)《孫悟空三打白(bai)骨精》;孝義(yi)市(shi)(shi)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)小戲(xi)(xi)(xi)《影(ying)(ying)戲(xi)(xi)(xi)緣》獲(huo)得了(le)第十(shi)屆中(zhong)(zhong)國(guo)藝(yi)術(shu)節“群(qun)星獎”;2014年(nian),首(shou)屆絲(si)綢(chou)之路國(guo)際(ji)電影(ying)(ying)節,一曲融入(ru)(ru)了(le)陜西(xi)(xi)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)旋律的(de)作品《絲(si)路遐想》在(zai)陜西(xi)(xi)廣播電視(shi)民族樂(le)團(tuan)《絲(si)路長安》音(yin)樂(le)會中(zhong)(zhong)上演;2015年(nian),陜西(xi)(xi)省(sheng)戲(xi)(xi)(xi)曲研究(jiu)(jiu)院(yuan)排演了(le)新編(bian)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)歷(li)史(shi)劇(ju)《李十(shi)三》;2016年(nian),山西(xi)(xi)省(sheng)曲沃縣(xian)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)劇(ju)團(tuan)送(song)戲(xi)(xi)(xi)下(xia)鄉,深(shen)入(ru)(ru)基層演出(chu)了(le)傳(chuan)(chuan)統劇(ju)目《恩仇記》、《五花馬(ma)》和具有教育意(yi)義(yi)的(de)《春江月(yue)》;另外,山西(xi)(xi)臨(lin)汾“侯(hou)馬(ma)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)皮影(ying)(ying)劇(ju)團(tuan)”在(zai)劉秀珍團(tuan)長的(de)領導下(xia),為非物(wu)質(zhi)文化(hua)遺產(chan)碗(wan)(wan)(wan)碗(wan)(wan)(wan)腔(qiang)(qiang)做傳(chuan)(chuan)承努力,深(shen)入(ru)(ru)學校、街頭、公園、廣場(chang),弘揚地方文化(hua)。
碗(wan)碗(wan)腔(華(hua)劇)劇種(zhong)行當(dang)齊全(quan),俗稱四生六旦二凈一丑,即(ji)十(shi)三網子。包括(kuo)(kuo)了劇種(zhong)全(quan)部角(jiao)色(se)的(de)性別、年(nian)齡和(he)各自(zi)不同(tong)的(de)性格特點(dian)。概(gai)括(kuo)(kuo)起來則是:生、旦、凈、丑,四大(da)類。
生:生角是凈(jing)、丑以(yi)外男性角色的統(tong)稱,按(an)個性特(te)(te)征和表演特(te)(te)點(dian)劃分。
其中包括須生(sheng)、正(zheng)生(sheng)、老生(sheng)、紅生(sheng)、馬褂生(sheng)、鞭子生(sheng)、衰敗須生(sheng)、小(xiao)生(sheng)、文(wen)小(xiao)生(sheng)、武(wu)小(xiao)生(sheng)、文(wen)武(wu)小(xiao)生(sheng)、武(wu)生(sheng)、貧生(sheng)、娃娃生(sheng)。
旦(dan)(dan)(dan):旦(dan)(dan)(dan)角是女性角色的(de)統(tong)稱,按其年齡、身份、性格及(ji)表演特(te)點劃分。其中包括正(zheng)旦(dan)(dan)(dan)(青衣、花(hua)彩正(zheng)旦(dan)(dan)(dan)、刀(dao)子旦(dan)(dan)(dan))、小旦(dan)(dan)(dan)(閨門(men)旦(dan)(dan)(dan))、花(hua)旦(dan)(dan)(dan)、老(lao)旦(dan)(dan)(dan)(富老(lao)旦(dan)(dan)(dan)、貧老(lao)旦(dan)(dan)(dan))、彩旦(dan)(dan)(dan)(丑(chou)旦(dan)(dan)(dan)、媒旦(dan)(dan)(dan))、武旦(dan)(dan)(dan)(刀(dao)馬(ma)旦(dan)(dan)(dan))。
凈(jing):凈(jing)角(jiao)俗稱花(hua)臉(lian)、黑頭,以(yi)面部臉(lian)譜為(wei)主要特(te)征(zheng),按其身份、性(xing)格及(ji)表演(yan)特(te)點劃分。其中包括(kuo)大花(hua)臉(lian)(大凈(jing))、二(er)花(hua)臉(lian)(二(er)凈(jing)、毛凈(jing))。
丑(chou):丑(chou)角亦稱三花臉(lian),屬喜(xi)劇角色,以面(mian)部臉(lian)譜為主要特(te)征(zheng),按其(qi)身份(fen)、性格及(ji)年(nian)齡特(te)征(zheng)劃分。其(qi)中包括(kuo)大丑(chou)、小丑(chou)、老丑(chou)、文丑(chou)、武(wu)丑(chou)。
碗(wan)碗(wan)腔的(de)唱(chang)詞典雅(ya),講求(qiu)聲(sheng)韻和諧;句(ju)(ju)了(le)或長(chang)短不(bu)一,或齊整 劃(hua)一,以上(shang)句(ju)(ju)押(ya)韻落板(ban)(ban),不(bu)同(tong)于其(qi)它劇種,建國(guo)前 藝人(ren)(ren)多(duo)是上(shang)門清(qing)唱(chang)。碗(wan)碗(wan)腔在表(biao)(biao)演上(shang)主(zhu)(zhu)要運用(yong)中(zhong)國(guo)戲曲(qu)的(de)傳統程式(shi),適當吸收皮影戲中(zhong)人(ren)(ren)物的(de)表(biao)(biao)演動作。演唱(chang)時(shi),小(xiao)生、小(xiao)旦、青衣吐字多(duo)用(yong)真聲(sheng),拖腔多(duo)用(yong)假聲(sheng),形成(cheng)真假聲(sheng)結(jie)合使用(yong)的(de)特(te)點。老(lao)生、須生、老(lao)旦、小(xiao)丑全用(yong)真聲(sheng);花(hua)臉(lian)多(duo)用(yong)喉音(yin)和腦后音(yin)。演出中(zhong)并有(you)(you)重唱(chang)、齊唱(chang)、伴(ban)唱(chang)等形式(shi)。此外,還有(you)(you)一種用(yong)單句(ju)(ju)結(jie)尾的(de),即七字句(ju)(ju)上(shang)、下樂(le)句(ju)(ju)的(de)唱(chang)段(duan),在結(jie)束時(shi)只唱(chang)一個上(shang)句(ju)(ju),曲(qu)調曼聲(sheng)而下,使人(ren)(ren)有(you)(you)詞意已盡(jin)而余韻猶存(cun)的(de)感(gan)覺,與(yu)一般戲曲(qu)唱(chang)腔的(de)“留板(ban)(ban)”不(bu)同(tong),不(bu)用(yong)再接下句(ju)(ju)。東(dong)路(lu)碗(wan)碗(wan)腔在藝術上(shang)比較(jiao)(jiao)成(cheng)熟,影響較(jiao)(jiao)大。它的(de)音(yin)樂(le)具(ju)有(you)(you)幽(you)雅(ya)、清(qing)新(xin)的(de)特(te)色,其(qi)唱(chang)腔既(ji)有(you)(you)擅長(chang)表(biao)(biao)現(xian)歡樂(le)的(de)“歡音(yin)”,又有(you)(you)擅長(chang)表(biao)(biao)現(xian)悲傷的(de)“苦音(yin)”。主(zhu)(zhu)要板(ban)(ban)路(lu)有(you)(you)慢板(ban)(ban)、快三(san)眼、慢緊板(ban)(ban)、緊板(ban)(ban)、滾(gun)板(ban)(ban)、揚句(ju)(ju)子、尖板(ban)(ban)、西廂調、花(hua)花(hua)腔、疊腔等。
皮影碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)階段,各支派均(jun)有(you)(you)不(bu)同特點的(de)音(yin)(yin)樂唱(chang)腔(qiang)(qiang)。板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)(you)侵板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、尖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(墊扳)、二(er)(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、代(dai)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、飛板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、喝場和韻白等,其(qi)慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)與(yu)東府(fu)相近,余均(jun)有(you)(you)差異。“西(xi)府(fu)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)”的(de)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)與(yu)秦(qin)腔(qiang)(qiang)相近,除滾(gun)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)外,還有(you)(you)花(hua)(hua)音(yin)(yin)、苦音(yin)(yin)之別(bie);“洋(yang)縣碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)”唱(chang)腔(qiang)(qiang)以微調(diao)(diao)(diao)式(shi)為多,板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)(you)安板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、添板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、二(er)(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、代(dai)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、快板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、急板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、嘹子(zi)、滾(gun)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等;“陜北碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)”唱(chang)腔(qiang)(qiang)風格近似晉(jin)劇(ju),有(you)(you)慢扳、二(er)(er)(er)六板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、流(liu)水、大起板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、鈴子(zi)、導(dao)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、還陽板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等。發(fa)展為舞(wu)臺(tai)劇(ju)后,唱(chang)腔(qiang)(qiang)一般(ban)以板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)唱(chang)腔(qiang)(qiang)為主,主要板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)路有(you)(you)慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、快三(san)(san)眼、慢緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、滾(gun)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、揚句子(zi)、尖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、西(xi)廂調(diao)(diao)(diao)、花(hua)(hua)花(hua)(hua)腔(qiang)(qiang)、疊(die)腔(qiang)(qiang)等;花(hua)(hua)腔(qiang)(qiang)和疊(die)腔(qiang)(qiang)這兩類腔(qiang)(qiang)系各有(you)(you)其(qi)不(bu)同的(de)音(yin)(yin)律、音(yin)(yin)階、調(diao)(diao)(diao)式(shi)和表(biao)現(xian)功(gong)能;一般(ban)說(shuo)來,花(hua)(hua)音(yin)(yin)擅長表(biao)現(xian)歡快、明朗的(de)情(qing)調(diao)(diao)(diao),哭音(yin)(yin)則主要表(biao)現(xian)悲(bei)傷(shang)、哀怨的(de)情(qing)緒;慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)又有(you)(you)俗稱三(san)(san)不(bu)齊(西(xi)廂調(diao)(diao)(diao))的(de)特殊(shu)唱(chang)法。
另(ling)外(wai),還有(you)一(yi)個山西省(sheng)的(de)分(fen)(fen)支孝義(yi)(yi)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),其(qi)主要有(you)兩種聲(sheng)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),分(fen)(fen)別(bie)是(shi)皮腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)和碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),均來自孝義(yi)(yi)皮影戲(xi)。皮腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)唱(chang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)有(you)兩種形態(tai),一(yi)種為四句體,另(ling)一(yi)種是(shi)可以多次反復的(de)上下(xia)句唱(chang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)。碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)唱(chang)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)特點是(shi)真假(jia)聲(sheng)混用,多用虛(xu)詞假(jia)聲(sheng)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang),假(jia)聲(sheng)唱(chang)法(fa)分(fen)(fen)二音(yin)子和再翻高(gao)形成的(de)尖音(yin)子。由此可見碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)的(de)聲(sheng)腔(qiang)(qiang)(qiang)(qiang)(qiang)(qiang)體系是(shi)完整和豐富(fu)的(de)。
戲劇服(fu)(fu)裝(zhuang)的(de)演變與發展,有一個由簡到全的(de)過程。中(zhong)華人民(min)共和(he)國成立后,特(te)別是在(zai)1960年代后,隨著(zhu)劇目的(de)不斷繁(fan)榮發展,戲劇服(fu)(fu)裝(zhuang)更趨講究精(jing)美,豐富(fu)多彩,并具有粗獷大方,色(se)彩鮮(xian)艷,對比(bi)鮮(xian)明等(deng)特(te)點。
戲曲服(fu)裝(zhuang)分(fen)為古代(dai)(dai)戲服(fu)裝(zhuang)和現代(dai)(dai)戲服(fu)裝(zhuang),至于(yu)清代(dai)(dai)的服(fu)裝(zhuang)則(ze)有(you)專門的清裝(zhuang),如(ru)箭衣(yi)(yi)(yi)(yi)、馬褂、大帽、長辮、靴子等;還(huan)有(you)一些特定職(zhi)業的古裝(zhuang)戲服(fu),如(ru)素(su)道袍、箭衣(yi)(yi)(yi)(yi)、官衣(yi)(yi)(yi)(yi)、水(shui)袖等;同時,為了(le)更符合舞臺(tai)藝(yi)術的需要,傳統戲除蟒、靠(kao)、校衛(wei)衣(yi)(yi)(yi)(yi)外(wai),生、旦角服(fu)裝(zhuang)全部用(yong)反(fan)面緞材料;還(huan)有(you)梅蘭芳大師所要求的“三白一展”(即領子白、水(shui)袖白、靴底(di)白,衣(yi)(yi)(yi)(yi)服(fu)平展)。服(fu)裝(zhuang)按劇(ju)情需要分(fen)門別類,形成(cheng)服(fu)裝(zhuang)分(fen)箱口:大衣(yi)(yi)(yi)(yi)箱、二衣(yi)(yi)(yi)(yi)箱、三衣(yi)(yi)(yi)(yi)箱、頭帽等。
秦腔、眉(mei)戶、碗碗腔、同州梆(bang)子、京(jing)劇等(deng)戲(xi)(xi)(xi)曲劇種的(de)人(ren)物妝容大同小異。傳統戲(xi)(xi)(xi)有固定(ding)的(de)臉(lian)譜(pu),生、旦為俊(jun)扮,凈(jing)、丑為粉扮。新編古代(dai)戲(xi)(xi)(xi)多按人(ren)物臉(lian)譜(pu)結合人(ren)物性(xing)格加以改革(ge)。現代(dai)戲(xi)(xi)(xi)則根據(ju)人(ren)物的(de)年齡(ling)、性(xing)格、身份,在演員自然形象的(de)基礎上,采用(yong)生活(huo)化的(de)化妝,并加以美化夸張。
建國后,鉛(qian)粉(fen)、干(gan)紅灒水、干(gan)墨灒水等水彩化(hua)(hua)妝被(bei)油彩妝代替,當時的特(te)點(dian)是濃、重、厚。但這在(zai)(zai)化(hua)(hua)妝品和(he)化(hua)(hua)妝技術(shu)上(shang)(shang)(shang)有(you)很(hen)大革新,同時,在(zai)(zai)保留傳統臉(lian)(lian)譜特(te)點(dian)的基礎(chu)上(shang)(shang)(shang)吸收了(le)京劇臉(lian)(lian)譜的特(te)長,在(zai)(zai)體現人(ren)物(wu)性(xing)格特(te)點(dian)和(he)化(hua)(hua)妝技巧及審(shen)美(mei)上(shang)(shang)(shang)有(you)了(le)很(hen)大改進。在(zai)(zai)丑角的臉(lian)(lian)譜要求上(shang)(shang)(shang)也做了(le)妥(tuo)善規范(fan),如(ru)(ru)武丑在(zai)(zai)眉、鼻、眼(yan)中(zhong)間畫(hua)倒三角白眼(yan)窩;方(fang)巾丑畫(hua)成方(fang)形白眼(yan)窩,再加上(shang)(shang)(shang)眼(yan)角的魚尾紋。旦角,基本上(shang)(shang)(shang)采(cai)用(yong)包大頭(tou)、花(hua)鬢(bin)、劉海齊用(yong),頭(tou)面裝飾(shi),釵環,戴花(hua)除使(shi)人(ren)物(wu)造(zao)型美(mei)外(wai),主要根據人(ren)物(wu)身份而定。如(ru)(ru)傳統戲《金琬釵》中(zhong)旦角的頭(tou)飾(shi),鮮艷、粉(fen)淡各有(you)不(bu)同。
在皮影時期(qi),代表樂器(qi)主要(yao)有(you)(you)弦樂器(qi)有(you)(you)月(yue)琴(qin)、硬弦(二股(gu)(gu)弦)、板(ban)(ban)胡,管(guan)樂器(qi)有(you)(you)嗩吶(na)、馬號(喇叭),打擊(ji)樂器(qi)有(you)(you)梆子(zi)(zi)(zi)、銅(tong)碗(wan)(wan)(wan)(wan)(wan)、邊鼓、堂鼓、鐃鈸、鉸子(zi)(zi)(zi)、手(shou)鑼、大鑼(勾鑼)等(deng);演唱(chang)時,由(you)月(yue)琴(qin)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)領奏,硬弦、板(ban)(ban)胡伴(ban)隨(sui)。碰盅銅(tong)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)、截(jie)子(zi)(zi)(zi)、月(yue)琴(qin)、胡呼(hu)、二股(gu)(gu)弦,專司(si)樂器(qi)的(de)(de)(de)三(san)、五人,無文武(wu)場(chang)之分,但主兼何種(zhong)樂器(qi)也有(you)(you)明確(que)分工。發(fa)展成舞臺戲曲劇種(zhong)后,文武(wu)場(chang)分開,加進(jin)了(le)笛子(zi)(zi)(zi)、揚(yang)琴(qin)、三(san)弦兒、提琴(qin)之類(lei)。但是富有(you)(you)特(te)色的(de)(de)(de)幾種(zhong)代表性樂器(qi)所發(fa)出(chu)的(de)(de)(de)音(yin)(yin)(yin)(yin)響并沒有(you)(you)被淹沒。用于擊(ji)拍的(de)(de)(de)小銅(tong)碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)和檀木(mu)截(jie)子(zi)(zi)(zi)格外清脆悅耳,中(zhong)音(yin)(yin)(yin)(yin)硬弦胡呼(hu),音(yin)(yin)(yin)(yin)響洪亮,使整個音(yin)(yin)(yin)(yin)樂剛柔(rou)相(xiang)濟。月(yue)琴(qin)的(de)(de)(de)琴(qin)箱(xiang)呈六(liu)角形,上覆(fu)桐木(mu)板(ban)(ban),琴(qin)脖(bo)無品,以牛筋為弦,彈撥出(chu)的(de)(de)(de)音(yin)(yin)(yin)(yin)明朗(lang)而渾厚(hou)有(you)(you)力。二股(gu)(gu)弦是碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔中(zhong)的(de)(de)(de)高音(yin)(yin)(yin)(yin)樂器(qi),它的(de)(de)(de)竹質琴(qin)筒(tong)較(jiao)一般(ban)二胡粗長(chang),琴(qin)桿粗而短,音(yin)(yin)(yin)(yin)色輕(qing)柔(rou)悠長(chang)雅(ya)致。伴(ban)奏中(zhong)月(yue)琴(qin)、胡呼(hu)、二股(gu)(gu)弦有(you)(you)其特(te)殊的(de)(de)(de)揉、滑(hua)技法,反復演奏出(chu)唱(chang)腔中(zhong)的(de)(de)(de)特(te)色旋律(lv),效果甚佳,構成碗(wan)(wan)(wan)(wan)(wan)碗(wan)(wan)(wan)(wan)(wan)腔音(yin)(yin)(yin)(yin)樂中(zhong)的(de)(de)(de)獨特(te)風格。演奏中(zhong)還有(you)(you)許多上滑(hua)、下滑(hua)的(de)(de)(de)技法,使音(yin)(yin)(yin)(yin)樂更加委(wei)婉動聽。
碗碗腔搬上大(da)(da)舞(wu)臺后(hou),樂(le)(le)(le)(le)隊的(de)(de)(de)體(ti)制(zhi)有了(le)(le)很大(da)(da)的(de)(de)(de)變化:1956年(nian)至1966年(nian),在傳統樂(le)(le)(le)(le)隊基礎上,加進了(le)(le)二胡、揚(yang)琴(qin)(qin)(qin)、洞簫、笛子(zi)、琵(pi)琶、雙簧管(guan)、大(da)(da)提琴(qin)(qin)(qin)、三(san)角(jiao)鐵等(deng)中(zhong)(zhong)西(xi)樂(le)(le)(le)(le)器(qi)(qi),組成為(wei)(wei)已民為(wei)(wei)主(zhu)(zhu)、西(xi)樂(le)(le)(le)(le)為(wei)(wei)輔的(de)(de)(de)小(xiao)型中(zhong)(zhong)西(xi)混(hun)合(he)樂(le)(le)(le)(le)隊;1972年(nian)至1982年(nian),在上述樂(le)(le)(le)(le)隊的(de)(de)(de)基礎上又曾(ceng)添了(le)(le)小(xiao)提琴(qin)(qin)(qin)、中(zhong)(zhong)提琴(qin)(qin)(qin)、低(di)音(yin)提琴(qin)(qin)(qin),全部(bu)木管(guan)和銅管(guan)樂(le)(le)(le)(le)器(qi)(qi)以及排笙、定音(yin)鼓(gu)、吊釵、小(xiao)軍鼓(gu)等(deng)大(da)(da)量(liang)西(xi)洋樂(le)(le)(le)(le)器(qi)(qi),編制(zhi)由(you)十(shi)多(duo)人(ren)提升(sheng)到三(san)十(shi)多(duo)人(ren),成為(wei)(wei)了(le)(le)一個中(zhong)(zhong)型的(de)(de)(de)中(zhong)(zhong)西(xi)混(hun)合(he)樂(le)(le)(le)(le)隊,并設專職(zhi)指揮;1983年(nian)后(hou),改為(wei)(wei)以民樂(le)(le)(le)(le)為(wei)(wei)主(zhu)(zhu)并吸收(shou)少(shao)量(liang)西(xi)洋樂(le)(le)(le)(le)器(qi)(qi)的(de)(de)(de)中(zhong)(zhong)型混(hun)合(he)樂(le)(le)(le)(le)隊,減(jian)掉了(le)(le)大(da)(da)部(bu)分的(de)(de)(de)西(xi)洋樂(le)(le)(le)(le)器(qi)(qi)只保留了(le)(le)大(da)(da)提琴(qin)(qin)(qin)、低(di)音(yin)提琴(qin)(qin)(qin)、定音(yin)鼓(gu)、吊釵、三(san)角(jiao)鐵等(deng)少(shao)量(liang)樂(le)(le)(le)(le)器(qi)(qi),同時又曾(ceng)添了(le)(le)古箏(zheng)、鋁板琴(qin)(qin)(qin)、電子(zi)琴(qin)(qin)(qin)、笙、排鼓(gu)、柳琴(qin)(qin)(qin)、阮等(deng)中(zhong)(zhong)西(xi)樂(le)(le)(le)(le)器(qi)(qi),編制(zhi)人(ren)數(shu)減(jian)至二十(shi)多(duo)人(ren)。
分(fen)弦(xian)索(suo)曲(qu)(qu)(qu)牌(pai),總(zong)數(shu)(shu)約八十余首,節(jie)奏分(fen)為(wei)(wei)散、慢、中、快四種類(lei)型(xing),音(yin)樂(le)結構(gou)分(fen)為(wei)(wei)只曲(qu)(qu)(qu)反(fan)復與(yu)(yu)多曲(qu)(qu)(qu)聯(lian)套兩種形態。其來(lai)(lai)源一(yi)(yi)部分(fen)曲(qu)(qu)(qu)子(zi)民(min)間小曲(qu)(qu)(qu)和吹鼓樂(le):一(yi)(yi)部分(fen)則(ze)是(shi)從秦腔(qiang)(qiang)、同州梆(bang)子(zi)及眉(mei)(mei)戶等姊妹藝(yi)術(shu)中吸收衍化而來(lai)(lai),特(te)別是(shi)嗩吶曲(qu)(qu)(qu)牌(pai)、多數(shu)(shu)與(yu)(yu)秦腔(qiang)(qiang)近似(si)或(huo)相(xiang)同,但較秦腔(qiang)(qiang)原始。弦(xian)索(suo)曲(qu)(qu)(qu)牌(pai)則(ze)與(yu)(yu)眉(mei)(mei)戶比較接近。搬上大(da)舞臺后,對(dui)傳統曲(qu)(qu)(qu)牌(pai)進行了革(ge)新,同時(shi),也創(chuang)作了一(yi)(yi)定數(shu)(shu)量的(de)配樂(le),豐富(fu)了劇(ju)種音(yin)樂(le)的(de)表現力。另外,還有一(yi)(yi)定數(shu)(shu)量的(de)曲(qu)(qu)(qu)牌(pai)、板式和鑼鼓音(yin)樂(le)。如:殺妲己、梵王宮、重(zhong)臺、江怨、石(shi)榴(liu)、新春令、十樣景等。
碗碗腔(qiang)(qiang)(qiang)的(de)音(yin)樂(le)(le)(le)特(te)色是細膩 、幽(you)雅、耐人聽聞(wen);不但有獨特(te)、悠(you)揚、清(qing)麗的(de)樂(le)(le)(le)曲(qu),而且(qie)有抒情、優(you)美(mei)、感人的(de)唱腔(qiang)(qiang)(qiang);能(neng)表達生、旦、凈、丑各(ge)個行當和(he)各(ge)種不同(tong)人物的(de)復雜感情。碗碗腔(qiang)(qiang)(qiang)音(yin)樂(le)(le)(le)在發(fa)展(zhan)過(guo)程中,除吸收當地(di)民間音(yin)樂(le)(le)(le),小(xiao)調和(he)說唱音(yin)樂(le)(le)(le)外,又(you)受秦腔(qiang)(qiang)(qiang)、同(tong)州(zhou)梆(bang)子(zi)、眉戶(hu)和(he)蒲(pu)州(zhou)梆(bang)子(zi)等(deng)劇種的(de)影響(xiang)較大(da),其弦索(suo)曲(qu)牌多數與眉戶(hu)相同(tong)或近似,嗩吶曲(qu)牌則與秦腔(qiang)(qiang)(qiang)、同(tong)州(zhou)梆(bang)子(zi)大(da)同(tong)小(xiao)異。1972年起,采用了(le)和(he)聲、復調、配器等(deng)新的(de)作曲(qu)技法(fa),豐富(fu)了(le)色彩、增強(qiang)了(le)厚度、擴大(da)了(le)表現力,使伴奏藝(yi)術有了(le)新的(de)發(fa)展(zhan)。
曲沃(wo)碗(wan)碗(wan)腔(qiang)(qiang)屬板腔(qiang)(qiang)音(yin)(yin)樂(le),上(shang)、下句(ju)(ju)行腔(qiang)(qiang)唱(chang)(chang)(chang)詞以七(qi)字句(ju)(ju)、十字句(ju)(ju)居多(duo)。它的(de)唱(chang)(chang)(chang)腔(qiang)(qiang)和過門穩定,其調式(shi)(shi)為(wei)徵調式(shi)(shi)。起初板式(shi)(shi)單調,唱(chang)(chang)(chang)腔(qiang)(qiang)貧乏(fa),在(zai)(zai)其發(fa)展過程(cheng)中廣泛吸收了民間音(yin)(yin)樂(le)的(de)養(yang)料和蒲劇(ju)、眉(mei)戶(hu)等(deng)劇(ju)種(zhong)(zhong)的(de)曲調,結合當地的(de)語調特(te)(te)(te)點,形成具(ju)有獨特(te)(te)(te)風(feng)(feng)格(ge)的(de)唱(chang)(chang)(chang)腔(qiang)(qiang)。它的(de)音(yin)(yin)樂(le)唱(chang)(chang)(chang)腔(qiang)(qiang)悠雅婉轉、纏(chan)綿抒情,甚為(wei)群眾所喜聞樂(le)唱(chang)(chang)(chang)。碗(wan)碗(wan)腔(qiang)(qiang)獨具(ju)風(feng)(feng)格(ge)之(zhi)處(chu)還(huan)在(zai)(zai)于它的(de)一些唱(chang)(chang)(chang)腔(qiang)(qiang),末尾的(de)假嗓拖音(yin)(yin)中多(duo)出(chu)現七(qi)度跳升,雖翻高七(qi)度,卻(que)異常的(de)圓潤和諧,毫(hao)無生硬(ying)突兀之(zhi)感。曲沃(wo)碗(wan)碗(wan)腔(qiang)(qiang)的(de)基(ji)本(ben)板式(shi)(shi)有慢板、二八、流水、介(jie)板等(deng)。還(huan)吸收融匯了其他(ta)劇(ju)種(zhong)(zhong)的(de)曲牌。它的(de)音(yin)(yin)樂(le)雖多(duo)方吸收,但多(duo)而不雜,總是在(zai)(zai)發(fa)揮自己的(de)特(te)(te)(te)點基(ji)礎上(shang)化(hua)而用之(zhi),始(shi)終未失(shi)去其聲腔(qiang)(qiang)特(te)(te)(te)色,保持(chi)了自己的(de)風(feng)(feng)格(ge)。
陜(shan)西東路碗(wan)(wan)碗(wan)(wan)腔(qiang)皮(pi)(pi)影(ying)戲,在大量吸(xi)收(shou)蒲劇(ju)(ju)等劇(ju)(ju)種(zhong)的(de)(de)(de)(de)(de)舞(wu)臺(tai)表演(yan)技藝的(de)(de)(de)(de)(de)同時,還(huan)繼承和(he)發展(zhan)了(le)皮(pi)(pi)影(ying)藝術中“皮(pi)(pi)人(ren)(ren)”的(de)(de)(de)(de)(de)表演(yan)風(feng)(feng)格,特(te)別是女演(yan)員模擬(ni)“皮(pi)(pi)人(ren)(ren)”圖(tu)案、動(dong)(dong)畫的(de)(de)(de)(de)(de)動(dong)(dong)作,頗為(wei)群眾(zhong)(zhong)所喜(xi)愛。這些卡通動(dong)(dong)作結合劇(ju)(ju)本內(nei)容(rong)配上碗(wan)(wan)碗(wan)(wan)腔(qiang)的(de)(de)(de)(de)(de)特(te)殊音樂,抒發歡快、輕佻、憤恨(hen)等各(ge)種(zhong)感情非常協(xie)調(diao),使劇(ju)(ju)詞、音樂、表演(yan)融為(wei)一體(ti)。所以人(ren)(ren)們風(feng)(feng)趣(qu)的(de)(de)(de)(de)(de)稱這種(zhong)表演(yan)為(wei)“活皮(pi)(pi)影(ying)”,這是人(ren)(ren)們對戲曲舞(wu)臺(tai)碗(wan)(wan)碗(wan)(wan)腔(qiang)藝術風(feng)(feng)格和(he)表演(yan)特(te)色(se)的(de)(de)(de)(de)(de)一種(zhong)形(xing)象(xiang)比(bi)喻。每個(ge)形(xing)態(tai)各(ge)異的(de)(de)(de)(de)(de)皮(pi)(pi)影(ying),都(dou)共有(you)精巧細(xi)致,形(xing)體(ti)玲瓏,圖(tu)案花紋優雅的(de)(de)(de)(de)(de)特(te)性,帶有(you)濃(nong)郁的(de)(de)(de)(de)(de)民族(zu)文化內(nei)涵(han)和(he)地域氣息,表達(da)出中國傳(chuan)統民間藝術深厚的(de)(de)(de)(de)(de)歷史底蘊。帶給觀眾(zhong)(zhong)的(de)(de)(de)(de)(de)是聽(ting)覺(jue)與視(shi)覺(jue)上合二為(wei)一的(de)(de)(de)(de)(de)藝術享受。
登臺(tai)后的(de)碗(wan)碗(wan)腔雖然吸收了(le)其(qi)他(ta)劇種的(de)一(yi)些藝術形式,但(dan)將皮影(ying)戲的(de)動作保(bao)留在舞臺(tai)上,如旦角抒發情懷時(shi),一(yi)手指前(qian)(qian),一(yi)手指后,身體小幅度前(qian)(qian)仰后顛;生角走臺(tai)步時(shi),兩臂微屈,寬(kuan)袖前(qian)(qian)后擺動,側(ce)身緩緩而行;在武打方面更是保(bao)留了(le)皮影(ying)遺(yi)風。另外,碗(wan)碗(wan)腔搬上大舞臺(tai)后融(rong)入了(le)很多傳統戲曲特(te)技,如吹火、水袖功、扇子功、手絹功等(deng)。
碗(wan)碗(wan)腔產(chan)生(sheng)和(he)形(xing)成(cheng)年代,據(ju)史料和(he)老藝(yi)人追憶(yi)大(da)約產(chan)生(sheng)在(zai)清乾隆年間(1736-1795),并產(chan)生(sheng)了著名戲曲家李芳桂(gui)及其作(zuo)(zuo)品八本兩(liang)折(zhe),稱(cheng)為“十大(da)本”,總觀十大(da)本唱(chang)(chang)詞結構,遠在(zai)作(zuo)(zuo)者(zhe)所處的年代,碗(wan)碗(wan)腔主(zhu)要唱(chang)(chang)板就(jiu)已形(xing)成(cheng)。
碗碗腔(qiang)過去(qu)一(yi)直(zhi)是皮(pi)影(ying)(ying)演唱,在陜(shan)西以(yi)同、朝為中心。民(min)間流(liu)(liu)傳(chuan)有(you)(you)“華州的迷胡,合陽的線,同、朝的燈(deng)影(ying)(ying)天下傳(chuan)”之說。據《重修華縣(xian)(xian)縣(xian)(xian)志(zhi)稿(gao)》記載:“時腔(qiang),即碗碗腔(qiang),來自(zi)同、朝一(yi)帶”,稱為東(dong)(dong)路碗碗腔(qiang),流(liu)(liu)布于關中東(dong)(dong)府一(yi)帶;嘉慶、道光時期(qi),同、朝著名(ming)班(ban)社(she)布:李(li)(li)家班(ban)、齊家班(ban)、王(wang)(wang)家班(ban)、參子(zi)班(ban)、祥盛班(ban)等;碗碗腔(qiang)皮(pi)影(ying)(ying)戲的藝人極多,清末出名(ming)的“簽手”有(you)(you):七喜、王(wang)(wang)蔓、參苗(miao)子(zi)、一(yi)桿旗、歪脖子(zi);民(min)國以(yi)來在大荔韋林一(yi)方有(you)(you)李(li)(li)家三代,即桃核(人俗稱桃胡)、李(li)(li)義瑞、李(li)(li)存(cun)才;沙底一(yi)方有(you)(you):張禮常(chang)、雷文(wen)立、劉(liu)黑娃、王(wang)(wang)善子(zi)、王(wang)(wang)風堂;大荔一(yi)方有(you)(you):王(wang)(wang)四(si)貴、金奎、王(wang)(wang)牛;名(ming)樂師有(you)(you)瞎燈(deng)、張水(shui)龍(long)、西番、柴緒好、張志(zhi)英、喬玉山等;名(ming)“簽手”有(you)(you)金保(bao)、有(you)(you)才、更新、黨振海、根聲、京娃等。
陜西省戲(xi)曲(qu)(qu)(qu)研究(jiu)院在建國初期的老一輩戲(xi)曲(qu)(qu)(qu)藝術家(jia)李瑞芳、吳德(de)(de)(de)、寇治德(de)(de)(de)、馬友仙、焦瑞霞(xia)、苗德(de)(de)(de)發(fa)、段林(lin)菊、郝(hao)彩(cai)鳳、雷開(kai)元等(deng),都對陜西戲(xi)曲(qu)(qu)(qu)做出(chu)了卓越的貢獻(xian),更(geng)培(pei)養出(chu)了很(hen)多(duo)優秀的地(di)方戲(xi)曲(qu)(qu)(qu)演(yan)員,如:李梅、李東橋、李娟(juan)、張新尚、任小蕾、李君梅、任美玉等(deng);振興地(di)方戲(xi)曲(qu)(qu)(qu)發(fa)展更(geng)離不開(kai)這些幕后藝術家(jia)的付出(chu),著(zhu)名(ming)劇作家(jia)黃俊耀(yao)、朱學、張曉(xiao)斌、陳彥等(deng);著(zhu)名(ming)戲(xi)曲(qu)(qu)(qu)編曲(qu)(qu)(qu)、演(yan)奏家(jia)黃育英(ying)、趙季平、石(shi)仲柯、薛天信(xin)、張德(de)(de)(de)寧、王激等(deng)。
據傳,清末光緒初年,陜西朝邑(今大荔)一帶,連年大旱,寸草不生(sheng)。
當(dang)地(di)碗(wan)(wan)碗(wan)(wan)腔藝(yi)人(ren)因逃荒而流落(luo)山西(xi),后分為南北兩支,其(qi)赴北的(de)一(yi)(yi)支,在孝(xiao)義、汾(fen)(fen)陽一(yi)(yi)帶,受(shou)中(zhong)路梆子和(he)(he)孝(xiao)義皮(pi)腔、汾(fen)(fen)陽地(di)秧歌等影響,逐步形成孝(xiao)義碗(wan)(wan)碗(wan)(wan)腔。據(ju)老(lao)藝(yi)人(ren)回憶,約光(guang)緒(xu)中(zhong)期,兌鎮后莊的(de)碗(wan)(wan)碗(wan)(wan)腔皮(pi)影藝(yi)人(ren)劉夠清,曾兩次赴陜學(xue)習紗窗(chuang)皮(pi)影的(de)雕刻藝(yi)術(shu),當(dang)地(di)不少(shao)青(qing)年(nian)(nian)(nian)人(ren)加入(ru)影戲班,職(zhi)業(ye)和(he)(he)半職(zhi)業(ye)性質的(de)戲班逐年(nian)(nian)(nian)遞增(zeng),并吸收了木偶戲和(he)(he)晉劇(ju)、蒲劇(ju)的(de)一(yi)(yi)些劇(ju)目。至光(guang)緒(xu)末(mo)期,孝(xiao)義碗(wan)(wan)碗(wan)(wan)腔的(de)影戲班子已達六(liu)七(qi)十個,演出遍布全晉,還遠(yuan)達寧夏(xia)、遼寧等地(di),并涌(yong)現出一(yi)(yi)批著名(ming)藝(yi)人(ren):王寶棟(扦工精熟,操技藏神);張(zhang)立廣(鋼(gang)音鐵嗓,月迷星驚);井潤元(專說(shuo)閨門戲,人(ren)稱“小姐班”);李(li)付(fu)德(擅唱喜鬧劇(ju),譽(yu)為“哈哈班”);此外,還有(you)張(zhang)萬年(nian)(nian)(nian)、于(yu)吉榮、宋廣德、耿付(fu)有(you)等一(yi)(yi)大批青(qing)年(nian)(nian)(nian)藝(yi)人(ren),操說(shuo)各有(you)千秋,譽(yu)滿汾(fen)(fen)陽、平遙、介休、孝(xiao)義、祁縣、太谷等地(di)。
第一批(pi)國家級非物質文化遺產孝(xiao)義碗碗腔的傳承人:田學(xue)思、張建琴。
碗(wan)碗(wan)腔(qiang)(qiang)傳入曲(qu)沃之年代尚(shang)不(bu)久遠,已(yi)故84歲的(de)老藝人“巴字茂”生(sheng)(sheng)前曾(ceng)多次講(jiang)過(guo)他(ta)赴(fu)陜(shan)西(xi)學習皮影(ying)戲(xi)的(de)經(jing)(jing)過(guo),而且曲(qu)沃的(de)碗(wan)碗(wan)腔(qiang)(qiang)和陜(shan)西(xi)的(de)碗(wan)碗(wan)腔(qiang)(qiang)在音樂唱腔(qiang)(qiang)、樂器等(deng)方(fang)面(mian)有(you)很(hen)多相(xiang)同(tong)相(xiang)近之處(chu)。曲(qu)沃碗(wan)碗(wan)吸收(shou)了(le)曲(qu)沃秧(yang)歌、曲(qu)沃地方(fang)戲(xi)曲(qu)蒲(pu)劇(ju)(ju)和眉戶劇(ju)(ju)的(de)強調(diao),吸收(shou)曲(qu)沃民(min)間(jian)音樂的(de)曲(qu)牌,同(tong)時吸收(shou)蒲(pu)劇(ju)(ju)、越(yue)劇(ju)(ju)、川劇(ju)(ju)、晉(jin)劇(ju)(ju)等(deng)劇(ju)(ju)種的(de)服(fu)飾、臉譜(pu)、舞(wu)臺(tai)美(mei)術、念白(bai)及表演(yan)方(fang)式,更將曲(qu)沃皮影(ying)的(de)表演(yan)風格保留(liu)下(xia)來(lai)。曲(qu)沃碗(wan)碗(wan)在晉(jin)南地區享有(you)盛(sheng)(sheng)譽(yu),被譽(yu)為(wei)(wei)“晉(jin)南第一腔(qiang)(qiang)”,深受群眾的(de)喜愛。曲(qu)沃有(you)三晉(jin)“小江南”之稱,為(wei)(wei)這一藝術的(de)繁衍生(sheng)(sheng)息(xi)提供了(le)有(you)力支撐。經(jing)(jing)多年的(de)傳承發(fa)展,于清末民(min)國初年達到鼎(ding)盛(sheng)(sheng)。民(min)國初年,出(chu)現(xian)很(hen)多班社,主要有(you)陳(chen)小班、大富班、保子班等(deng),形成了(le)不(bu)同(tong)的(de)藝術流派。
曲沃碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)與孝義碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)有明顯區別。一是戲曲語言用(yong)了(le)“蒲(pu)(pu)州(zhou)邦子(zi)(zi)”的道白聲韻;二是傳(chuan)承了(le)碗(wan)(wan)碗(wan)(wan)腔(qiang)(qiang)的“撩板(ban)”和“直桿(gan)二八”板(ban)式,按照(zhao)行當及角色的情(qing)緒變(bian)化,使唱腔(qiang)(qiang)更(geng)加(jia)流暢,更(geng)加(jia)符合人物特性(xing);三是加(jia)入了(le)“中(zhong)音板(ban)胡”,打擊樂采用(yong)的是小直徑馬鑼、蒲(pu)(pu)劇的大窩鐃鈸、曲沃秧歌中(zhong)的小鉸子(zi)(zi);四是表演形態上(shang)更(geng)多的追求皮影(ying)戲的拙(zhuo)中(zhong)之美,既夸張(zhang)又浪漫(man)。
第(di)五批國家級非物質文(wen)化遺產曲沃碗碗腔傳(chuan)承人(ren):解紅(hong)旗。