清(qing)(qing)乾隆年(nian)(nian)間,贛江下游的南(nan)昌地(di)區(qu),以及贛江主支流"西(xi)(xi)河(he)"流域的永修、德(de)安(an)、九江、星(xing)子(zi)(zi)等(deng)(deng)(deng)縣(xian),是弋陽(yang)腔(qiang)、宜黃腔(qiang)、青陽(yang)腔(qiang)和(he)湖北漢(han)劇頻繁活動的地(di)區(qu)。清(qing)(qing)嘉慶年(nian)(nian)間,諸(zhu)腔(qiang)合流,首先在(zai)(zai)南(nan)昌形成(cheng)一(yi)種亂彈(dan)班(ban)(ban)(ban),影響甚廣。清(qing)(qing)道光年(nian)(nian)間,著名(ming)(ming)藝(yi)人(ren)湯(tang)(tang)(tang)大(da)樂(今德(de)安(an)縣(xian)高塘人(ren),1801年(nian)(nian)生(sheng)),先后(hou)(hou)在(zai)(zai)南(nan)昌的亂彈(dan)班(ban)(ban)(ban)和(he)漢(han)口的漢(han)劇班(ban)(ban)(ban)唱戲(xi)(xi)(xi),后(hou)(hou)載譽歸鄉,與其兄湯(tang)(tang)(tang)大(da)榮一(yi)起,在(zai)(zai)老家(jia)湯(tang)(tang)(tang)家(jia)坂組織湯(tang)(tang)(tang)家(jia)戲(xi)(xi)(xi)班(ban)(ban)(ban),排(pai)演(yan)(yan)黃皮戲(xi)(xi)(xi)。湯(tang)(tang)(tang)大(da)樂與星(xing)子(zi)(zi)諸(zhu)多湯(tang)(tang)(tang)姓同族共譜,湯(tang)(tang)(tang)于道光末年(nian)(nian)至(zhi)同治初年(nian)(nian)(1850-1862)來星(xing)子(zi)(zi)教戲(xi)(xi)(xi),廣收(shou)藝(yi)徒,建立了星(xing)子(zi)(zi)縣(xian)第一(yi)個彈(dan)腔(qiang)戲(xi)(xi)(xi)班(ban)(ban)(ban),演(yan)(yan)出(chu)(chu)劇目30余(yu)(yu)出(chu)(chu)。1874年(nian)(nian),星(xing)子(zi)(zi)藝(yi)人(ren)周(zhou)自(zi)(zi)秀(xiu)(xiu)出(chu)(chu)任(ren)班(ban)(ban)(ban)頭,戲(xi)(xi)(xi)班(ban)(ban)(ban)定名(ming)(ming)為(wei)(wei)"青陽(yang)公(gong)主星(xing)邑義(yi)和(he)班(ban)(ban)(ban)",簡(jian)(jian)稱"義(yi)和(he)班(ban)(ban)(ban)"。周(zhou)自(zi)(zi)秀(xiu)(xiu),星(xing)子(zi)(zi)縣(xian)蘇家(jia)擋人(ren),生(sheng)于1844年(nian)(nian),"自(zi)(zi)幼聰明異常,后(hou)(hou)習(xi)伶人(ren)之業(ye),故(gu)對于古往今來之歷史,莫不知(zhi)其大(da)略,悲欣(xin)歡樂之態,盡皆(jie)形人(ren)"(摘自(zi)(zi)周(zhou)自(zi)(zi)秀(xiu)(xiu)墓(mu)(mu)志)。其子(zi)(zi)周(zhou)招生(sheng)"素稱良善于優伶"(摘自(zi)(zi)周(zhou)招生(sheng)墓(mu)(mu)志)。其孫周(zhou)楊(yang)鑫、楊(yang)銀(yin)、楊(yang)錠,"均能繼續(xu)先人(ren)之業(ye)"(摘自(zi)(zi)周(zhou)自(zi)(zi)秀(xiu)(xiu)墓(mu)(mu)志),后(hou)(hou)皆(jie)為(wei)(wei)西(xi)(xi)河(he)戲(xi)(xi)(xi)名(ming)(ming)藝(yi)人(ren)和(he)義(yi)和(he)班(ban)(ban)(ban)骨干(gan)成(cheng)員。同班(ban)(ban)(ban)人(ren)還有郭德(de)英、劉忠化(hua)、黃以政等(deng)(deng)(deng)星(xing)子(zi)(zi)著名(ming)(ming)藝(yi)人(ren)。當時(shi)義(yi)和(he)班(ban)(ban)(ban)所演(yan)(yan)劇目的《打龍蓬》、《清(qing)(qing)官冊》、《過昭(zhao)關》、《三關調將》、《白(bai)虎關》、《二(er)進宮》等(deng)(deng)(deng)50余(yu)(yu)出(chu)(chu)大(da)本,30余(yu)(yu)出(chu)(chu)小(xiao)本。唱腔(qiang)以二(er)黃、西(xi)(xi)皮為(wei)(wei)主,演(yan)(yan)出(chu)(chu)多沿高腔(qiang)舊習(xi),如:"破(po)臺"、"放五昌"、"報臺"、"登二(er)場"等(deng)(deng)(deng)。角(jiao)色分為(wei)(wei)十大(da)行,即一(yi)末二(er)凈三生(sheng)四旦(dan)五老六(liu)外(wai)(wai)七丑八貼(tie)九小(xiao)十雜。戲(xi)(xi)(xi)班(ban)(ban)(ban)除(chu)在(zai)(zai)星(xing)子(zi)(zi)本地(di)演(yan)(yan)出(chu)(chu)外(wai)(wai),常往來于永修、德(de)安(an)、九江、都昌等(deng)(deng)(deng)地(di)(舊時(shi)多屬南(nan)康府(fu)、府(fu)治星(xing)子(zi)(zi)縣(xian)城)。因(yin)此,星(xing)子(zi)(zi)西(xi)(xi)河(he)戲(xi)(xi)(xi)便簡(jian)(jian)稱為(wei)(wei)西(xi)(xi)河(he)戲(xi)(xi)(xi)了。
1888年(nian)(nian)(nian),星(xing)子藝人(ren)(ren)(ren)(ren)(ren)劉郭原(星(xing)子蓼南(nan)(nan)人(ren)(ren)(ren)(ren)(ren),1856年(nian)(nian)(nian)生(sheng)(sheng)(sheng)),從"瑞祝(zhu)班(ban)(ban)(ban)(ban)"歸來(lai)加入(ru)義(yi)和(he)(he)班(ban)(ban)(ban)(ban),并繼周(zhou)自秀出(chu)(chu)任班(ban)(ban)(ban)(ban)頭。1889年(nian)(nian)(nian),星(xing)子藝人(ren)(ren)(ren)(ren)(ren)湯(tang)再(zai)(zai)樹(星(xing)子溫泉(quan)人(ren)(ren)(ren)(ren)(ren),1864年(nian)(nian)(nian)生(sheng)(sheng)(sheng)),從湖北(bei)(bei)"漢班(ban)(ban)(ban)(ban)"回(hui)來(lai)加入(ru)義(yi)和(he)(he)班(ban)(ban)(ban)(ban)。1919年(nian)(nian)(nian),星(xing)子藝人(ren)(ren)(ren)(ren)(ren)萬(wan)(wan)正(zheng)榜(bang)(星(xing)子蓼花人(ren)(ren)(ren)(ren)(ren),1891年(nian)(nian)(nian)生(sheng)(sheng)(sheng))自景德鎮"串堂班(ban)(ban)(ban)(ban)"回(hui)來(lai)入(ru)班(ban)(ban)(ban)(ban)。這些老(lao)(lao)人(ren)(ren)(ren)(ren)(ren)"雖英年(nian)(nian)(nian)家(jia)(jia)寒,在外飲午",然"天(tian)資敏捷,才(cai)(cai)智過(guo)人(ren)(ren)(ren)(ren)(ren),能演古,能排劇"(摘自湯(tang)再(zai)(zai)樹墓志)。他們(men)從外地(di)帶(dai)來(lai)新的(de)(de)(de)劇目,改(gai)造了一批老(lao)(lao)唱(chang)腔(qiang),如將西(xi)皮頂板(板頭起(qi)唱(chang))改(gai)為器板(即(ji)第三眼起(qi)唱(chang)),大大豐富了西(xi)河戲的(de)(de)(de)藝術。星(xing)子其他職業藝人(ren)(ren)(ren)(ren)(ren)英才(cai)(cai)輩出(chu)(chu),群芳(fang)濟濟,義(yi)和(he)(he)班(ban)(ban)(ban)(ban)迅速擴大。1910年(nian)(nian)(nian),義(yi)和(he)(he)班(ban)(ban)(ban)(ban)出(chu)(chu)于(yu)繁忙演出(chu)(chu)的(de)(de)(de)需要,分為南(nan)(nan)北(bei)(bei)兩(liang)班(ban)(ban)(ban)(ban)。北(bei)(bei)班(ban)(ban)(ban)(ban)由湯(tang)再(zai)(zai)樹領班(ban)(ban)(ban)(ban),南(nan)(nan)班(ban)(ban)(ban)(ban)由周(zhou)招(zhao)生(sheng)(sheng)(sheng)領班(ban)(ban)(ban)(ban),基(ji)地(di)分別設(she)于(yu)溫泉(quan)和(he)(he)蘇家(jia)(jia)擋。義(yi)和(he)(he)班(ban)(ban)(ban)(ban)自1910年(nian)(nian)(nian)分班(ban)(ban)(ban)(ban),1924年(nian)(nian)(nian)合(he)班(ban)(ban)(ban)(ban)至1937年(nian)(nian)(nian)抗日(ri)戰爭(zheng)爆(bao)發。前后共27年(nian)(nian)(nian),是義(yi)和(he)(he)班(ban)(ban)(ban)(ban)鼎(ding)盛時期(qi)。班(ban)(ban)(ban)(ban)里有(you)眾(zhong)多優秀藝人(ren)(ren)(ren)(ren)(ren),先后有(you)11名藝人(ren)(ren)(ren)(ren)(ren)獲獎掛牌14次。當(dang)地(di)有(you)故事(shi)傳(chuan)說,譽稱周(zhou)招(zhao)生(sheng)(sheng)(sheng)、萬(wan)(wan)正(zheng)榜(bang)、湯(tang)再(zai)(zai)樹、劉敦(dun)厚(hou)、梅(mei)傳(chuan)信為"夜(ye)(ye)皇帝(di)"、"夜(ye)(ye)沙帽"、"夜(ye)(ye)官"、"戲柜(ju)"、"全國三個(ge)半(ban)乖(guai)人(ren)(ren)(ren)(ren)(ren)"中(zhong)的(de)(de)(de)"半(ban)個(ge)"。義(yi)和(he)(he)班(ban)(ban)(ban)(ban)除在本縣參加各種廟會、祠(ci)堂、擂(lei)臺演出(chu)(chu)外,不(bu)斷(duan)往來(lai)于(yu)德安、永修、九江、都昌等地(di)巡回(hui)演出(chu)(chu)。長(chang)年(nian)(nian)(nian)"南(nan)(nan)征北(bei)(bei)戰"、"東奔西(xi)馳"而"在外飲午"。所(suo)演之處,"人(ren)(ren)(ren)(ren)(ren)皆津津樂道以(yi)為快(kuai)"(分別摘自湯(tang)大榮(rong)、劉敦(dun)厚(hou)、周(zhou)自秀墓志)。
義和班發達(da)之(zhi)時,民間業余演(yan)出(chu)也(ye)方興未(wei)艾。各地除增修大量(liang)戲(xi)臺(tai)(tai)外,村(cun)村(cun)供奉樂王菩薩(sa),每年8月28日(ri)(ri)做樂王會,祭祀戲(xi)神。每逢年節,村(cun)村(cun)聘請戲(xi)師(shi),教戲(xi)排(pai)劇。是(shi)時,鳴炮開(kai)臺(tai)(tai),鑼鼓管弦,通宵達(da)旦,數日(ri)(ri)不(bu)絕。這(zhe)些"徒弟戲(xi)"也(ye)大多遵循義和班習規(gui),如立(li)樂王位、丑(chou)角(jiao)開(kai)臉、藝人(ren)破臺(tai)(tai),第一出(chu)報臺(tai)(tai),第二出(chu)登場,末晚演(yan)"福戲(xi)"圓(yuan)臺(tai)(tai)等(deng)等(deng)。
星(xing)子西(xi)河(he)戲(xi)在20世紀(ji)六(liu)、七十年(nian)代受到限制,改革開放以后得到恢(hui)復和發展(zhan)。劇(ju)本(ben)基本(ben)上是(shi)從中國其他傳(chuan)統劇(ju)目改編而來,演(yan)出(chu)人員及樂隊都(dou)是(shi)當地(di)的中青年(nian)農(nong)民。2010年(nian),西(xi)河(he)戲(xi)入(ru)選第三批(pi)國家級非物質文化遺產名錄,傳(chuan)統戲(xi)劇(ju)項目類別,序號7。
1945年,抗(kang)日(ri)戰爭(zheng)勝利,縣(xian)政府(fu)從都昌(chang)遷(qian)回星子。8月,義(yi)和(he)班在(zai)縣(xian)城舊府(fu)堂(tang)門前戲(xi)(xi)(xi)臺上演西河戲(xi)(xi)(xi)3天,以(yi)示慶祝。上演節目有(you)(you)《大審玉堂(tang)春(chun)》等戲(xi)(xi)(xi)。以(yi)后(hou)西河戲(xi)(xi)(xi)活(huo)動得以(yi)逐漸恢復。但舊政府(fu)不求圖治,卻忙于征兵(bing)、勘亂、競選,甚(shen)至(zhi)忙于禁(jin)戲(xi)(xi)(xi)。其(qi)理(li)由(you)是"近(jin)幾來各鄉(xiang)間游手好閑者(zhe),恒(heng)多演戲(xi)(xi)(xi)集賭,小則傾家蕩產,大則流(liu)于匪盜(dao),影響社會(hui),良非淺鮮。"城門失火,殃及池魚,一(yi)有(you)(you)賭情,則拆除戲(xi)(xi)(xi)臺、扣(kou)壓戲(xi)(xi)(xi)師。"倘(tang)有(you)(you)循(xun)私包庇者(zhe),撤職查辦"。"如有(you)(you)反抗(kang)各等情況",立即(ji)鎮壓(摘(zhai)自舊政府(fu)告示)。1949年,解放軍入(ru)境,舊政府(fu)卷(juan)席(xi)而逃(tao)。1950年,義(yi)和(he)班解散。?
1937年(nian)抗日(ri)戰爭(zheng)(zheng)開始,鄱陽(yang)湖域處于戰爭(zheng)(zheng)狀(zhuang)態,危及沿湖一(yi)帶城鎮(zhen)。西河(he)戲(xi)活動,也(ye)從沿海地區向內地轉移。星子以(yi)華(hua)林為(wei)中心的廬山南(nan)麓各鄉(xiang),業余演出(chu)仍很興盛,義和(he)班(ban)也(ye)多(duo)(duo)在這一(yi)帶活動,華(hua)林有(you)名藝人(ren)(ren)(ren)(ren)20余名,占當時全(quan)部藝人(ren)(ren)(ren)(ren)五分(fen)之二。1938年(nian)日(ri)軍(jun)入境,星子縣(xian)(xian)政府(fu)遷(qian)往(wang)都昌(chang),湖面封鎖(suo),星子沿湖多(duo)(duo)筑日(ri)軍(jun)炮臺,西河(he)戲(xi)活動迅速(su)失敗,義和(he)班(ban)進(jin)入困難(nan)時期。雖偶有(you)演出(chu),也(ye)是入不敷出(chu),藝人(ren)(ren)(ren)(ren)多(duo)(duo)轉而操(cao)演皮(pi)影戲(xi),聊以(yi)糊(hu)口。1942年(nian),日(ri)偽縣(xian)(xian)長令義和(he)班(ban)在蓼花漢嶺演端午(wu)節(jie)戲(xi),許多(duo)(duo)藝人(ren)(ren)(ren)(ren)不從而逃往(wang)外地。其余藝人(ren)(ren)(ren)(ren)流離顛沛,朝(chao)不保夕,竟有(you)藝人(ren)(ren)(ren)(ren)抱病轉操(cao)皮(pi)影戲(xi)而終(zhong)歿他鄉(xiang)。
建國后,義和班難(nan)以(yi)恢復,但農(nong)村(cun)業(ye)(ye)余(yu)(yu)演出卻蓬勃興起(qi),藝人多(duo)以(yi)教(jiao)戲為業(ye)(ye)。縣文化(hua)部門非(fei)常(chang)重視西(xi)(xi)河戲對活(huo)躍農(nong)村(cun)業(ye)(ye)余(yu)(yu)文化(hua)生活(huo)的作用,舉行各類西(xi)(xi)河戲調(diao)演、匯演和學習(xi)班,西(xi)(xi)河戲迅速恢復和發(fa)展。逢年過節(jie),村(cun)村(cun)場(chang)場(chang)演唱西(xi)(xi)河戲,自娛娛人,已(yi)成鄉俗。現時農(nong)村(cun)各類喜事(shi)加上大學、參(can)軍、遷(qian)新居、婚嫁(jia)日甚至農(nong)業(ye)(ye)承(cheng)包、企業(ye)(ye)開張(zhang)等,人們都愿意花不多(duo)的錢,請(qing)個業(ye)(ye)余(yu)(yu)劇(ju)團演唱西(xi)(xi)河戲招待賓客,以(yi)示慶賀(he)。
西(xi)河(he)戲(xi)植根于村野(ye)鄉俚(li),吸收了(le)當地民(min)間藝術養份,既(ji)古(gu)樸、簡明、生動,又(you)有(you)原始(shi)、俚(li)俗(su)之處,其旋律高(gao)亢奔放,渾厚(hou)質(zhi)樸,唱(chang)腔(qiang)為(wei)(wei)(wei)板式(shi)體,以西(xi)皮、二(er)黃為(wei)(wei)(wei)基本聲調,并(bing)兼有(you)青(qing)陽高(gao)腔(qiang)、漁歌、民(min)間小(xiao)調等,唱(chang)腔(qiang)拖腔(qiang)較短(duan),中間夾有(you)襯字,唱(chang)詞多為(wei)(wei)(wei)七(qi)字句(ju)、十字段(duan),用嗓為(wei)(wei)(wei)“生、旦(dan)、凈”三種。臺詞念白多鄉音俚(li)語(yu),服裝古(gu)色古(gu)香,表演古(gu)樸夸張。武打中的(de)“搏手(shou)”動手(shou)剛健、姿態優美,多由民(min)間拳術變(bian)化(hua)而來。樂品有(you)京胡(俗(su)稱(cheng)“細筒琴(qin)(qin)”),二(er)胡(俗(su)稱(cheng)“大(da)筒琴(qin)(qin)”),民(min)國時始(shi)用月琴(qin)(qin)。西(xi)河(he)戲(xi)的(de)劇目多為(wei)(wei)(wei)歷史袍帶戲(xi),大(da)多取材于歷史故事,集中于三國、隋(sui)唐、宋等朝代,內容崇(chong)尚忠、義、廉(lian)、孝,表演形式(shi)較為(wei)(wei)(wei)固定(ding),生活化(hua)大(da)于藝術化(hua),頗具鄉土氣息。
西河戲本身就是一種文化,一種藝術形式。她以(yi)多(duo)取材(cai)于歷(li)史故(gu)事,內容推崇忠、孝(xiao)、節(jie)、義,從一個側面推動和活躍了鄉村文化。
退(tui)一步講,五六十年代(dai)(dai)的(de)(de)人很少接受系統的(de)(de)歷(li)史教育,但戲迷大(da)多數(shu)(shu)對歷(li)朝歷(li)代(dai)(dai)的(de)(de)典故了(le)如指掌(zhang);“百善孝為(wei)(wei)先,忠孝節義…”這(zhe)些(xie)好的(de)(de)行為(wei)(wei)規范對自身的(de)(de)修為(wei)(wei)也或多或少影響,就像《大(da)染坊》中陳(chen)壽(shou)亭一樣(yang),誰說文盲(mang)就不懂歷(li)史,就沒有(you)修為(wei)(wei)!而作(zuo)為(wei)(wei)我們(men)這(zhe)一代(dai)(dai),有(you)好的(de)(de)學習條件,多數(shu)(shu)為(wei)(wei)功利和實用而學,比起(qi)前(qian)輩們(men),實在是發汗。
很多(duo)(duo)劇種都(dou)在(zai)現代(dai)的經濟(ji)浪(lang)潮的沖擊下逐(zhu)漸萎縮,西河(he)戲也不例外(wai)。大多(duo)(duo)數年(nian)輕(qing)人都(dou)在(zai)外(wai)打拼,即使是過年(nian)回家,也很少有(you)人對此感興趣了(le)。
讓多數人參(can)與(yu)演(yan)(yan)出(chu)可(ke)能性是(shi)不大(da)了,但完全可(ke)以(yi)(yi)通(tong)(tong)過一(yi)些專業(ye)(ye)的整理(li)來達到保護(hu)的目的。大(da)致可(ke)從以(yi)(yi)下(xia)方面著手:首先(xian)收(shou)集以(yi)(yi)前(qian)的劇(ju)(ju)本(ben)整體(ti)編(bian)排,刊印。其次(ci)對(dui)一(yi)些經典的劇(ju)(ju)目進(jin)行錄制存檔。有條件和(he)話可(ke)通(tong)(tong)過組建一(yi)支業(ye)(ye)余演(yan)(yan)出(chu)劇(ju)(ju)團進(jin)行演(yan)(yan)出(chu),如個別單位需(xu)要也(ye)可(ke)通(tong)(tong)過商業(ye)(ye)贊(zan)助(zhu)的行式進(jin)行;若能完全商業(ye)(ye)化也(ye)可(ke)借簽紹興的社戲一(yi)樣(yang)加以(yi)(yi)推廣。再次(ci),對(dui)一(yi)些對(dui)西河戲感興趣的青年進(jin)行重(zhong)點培(pei)養。
聞聽九江(jiang)正在對西(xi)(xi)河戲(xi)進行搶(qiang)救性保護,甚(shen)感欣(xin)慰(wei)。寧愿相(xiang)信西(xi)(xi)河戲(xi)她(ta)會(hui)永遠(yuan)地演下去。即使將來的(de)一天(tian),西(xi)(xi)河戲(xi)被淹沒(mei)在歷史(shi)的(de)滾(gun)滾(gun)洪流中,她(ta)曾經帶(dai)給我們的(de)歡(huan)樂(le)與啟(qi)迪和也會(hui)隨著歷史(shi)永流傳。