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歷史溯源

八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)原(yuan)先(xian)是(shi)(shi)滿族人(ren)民在(zai)行圍射獵(lie)的閑暇之(zhi)余(yu)所進行的民間藝(yi)術，大約在(zai)清朝乾隆(long)年間（1736－1795），逐(zhu)漸發展(zhan)為(wei)一種(zhong)曲藝(yi)形式。八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)一般是(shi)(shi)多(duo)(duo)人(ren)坐(zuo)唱(chang)的形式，樂(le)器分別由演(yan)(yan)唱(chang)者(zhe)操奏，主唱(chang)者(zhe)擊打(da)八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)，又(you)有單口(kou)、對口(kou)、拆唱(chang)、群唱(chang)以(yi)及化裝表演(yan)(yan)等(deng)多(duo)(duo)種(zhong)表現(xian)形式。在(zai)清代的時候，扶(fu)余(yu)曾是(shi)(shi)北方的重鎮(zhen)之(zhi)一，文化較發達(da)，土著居民以(yi)滿族較多(duo)(duo)。根據八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)老藝(yi)人(ren)程(cheng)殿(dian)選（1884－1969）介紹，自(zi)清朝后(hou)期(qi)至(zhi)(zhi)20世紀30年代，曲藝(yi)八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)在(zai)扶(fu)余(yu)頗為(wei)流行。當時，逢年過節，喜慶(qing)堂會，均演(yan)(yan)唱(chang)八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)。八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)藝(yi)人(ren)還經(jing)常演(yan)(yan)出(chu)于城鎮(zhen)的書場、茶肆、集市(shi)、農村等(deng)地(di)。從抗日戰(zhan)爭后(hou)期(qi)至(zhi)(zhi)建國(guo)前(qian)夕，八(ba)(ba)(ba)角(jiao)(jiao)鼓(gu)(gu)(gu)逐(zhu)漸趨于消沉(chen)。

自清(qing)朝末期(qi)至中華(hua)國(guo)年間，扶余(yu)境內演(yan)唱八角(jiao)鼓成(cheng)風。民間的(de)喜慶和官紳的(de)堂會無(wu)不演(yan)唱八角(jiao)鼓。演(yan)唱者滿族(zu)、漢(han)族(zu)皆有(you)，職業演(yan)員和業余(yu)團體并存。在漢(han)族(zu)演(yan)唱者中，以程殿選的(de)聲望比較高，他既是(shi)持(chi)鼓主唱者，又是(shi)演(yan)出組(zu)織者。中華(hua)人民共(gong)和國(guo)建(jian)立之后(hou)，音(yin)樂工作者徐達(da)音(yin)等按程殿選口(kou)授，記錄、整理了四(si)十個曲目和二(er)十七個曲牌。

1955年(nian)，在有關部(bu)門的(de)(de)主(zhu)持(chi)下(xia)(xia)，八(ba)角鼓(gu)(gu)作為(wei)滿族文化(hua)(hua)(hua)遺產(chan)被重(zhong)新(xin)(xin)挖掘、搶救。1959年(nian)，扶余(yu)(yu)當地(di)的(de)(de)文化(hua)(hua)(hua)主(zhu)管部(bu)門組織一批(pi)(pi)八(ba)角鼓(gu)(gu)老藝人和新(xin)(xin)文藝工(gong)作者對八(ba)角鼓(gu)(gu)進行(xing)了戲(xi)曲(qu)(qu)(qu)(qu)化(hua)(hua)(hua)的(de)(de)創作和改(gai)編工(gong)作，開始(shi)在八(ba)角鼓(gu)(gu)基(ji)礎上(shang)創建新(xin)(xin)劇(ju)(ju)(ju)(ju)(ju)種。同時還(huan)成立(li)了扶余(yu)(yu)縣(xian)新(xin)(xin)劇(ju)(ju)(ju)(ju)(ju)種實驗(yan)(yan)劇(ju)(ju)(ju)(ju)(ju)團，編演(yan)實驗(yan)(yan)劇(ju)(ju)(ju)(ju)(ju)目《箭帕緣》。因(yin)《箭帕緣》的(de)(de)首演(yan)取(qu)得巨大(da)的(de)(de)成功，次年(nian)就將(jiang)新(xin)(xin)劇(ju)(ju)(ju)(ju)(ju)種正式(shi)命名為(wei)新(xin)(xin)城(cheng)戲(xi)，改(gai)實驗(yan)(yan)劇(ju)(ju)(ju)(ju)(ju)團為(wei)新(xin)(xin)城(cheng)戲(xi)劇(ju)(ju)(ju)(ju)(ju)團。此后接連(lian)創作和移(yi)植了一批(pi)(pi)劇(ju)(ju)(ju)(ju)(ju)目，使(shi)劇(ju)(ju)(ju)(ju)(ju)種在縣(xian)內(nei)扎下(xia)(xia)深厚的(de)(de)藝術根基(ji)。經過文藝工(gong)作者的(de)(de)多(duo)年(nian)探索和實踐，將(jiang)八(ba)角鼓(gu)(gu)曲(qu)(qu)(qu)(qu)牌(pai)中的(de)(de)〔靠山調(diao)(diao)〕、〔四句板(ban)〕作為(wei)主(zhu)要(yao)聲腔，在此基(ji)礎上(shang)創作了慢板(ban)、原板(ban)、數板(ban)、行(xing)板(ban)、彈(dan)頌(song)板(ban)、快四板(ban)等(deng)多(duo)種板(ban)式(shi)，并且在結合(he)板(ban)式(shi)的(de)(de)基(ji)礎上(shang)運用了諸如〔太平年(nian)〕、〔揀(jian)菊花〕、〔娃娃腔〕、〔茨山〕等(deng)曲(qu)(qu)(qu)(qu)牌(pai)格(ge)調(diao)(diao)，使(shi)它(ta)成為(wei)板(ban)式(shi)變化(hua)(hua)(hua)體與曲(qu)(qu)(qu)(qu)牌(pai)聯套體相結合(he)的(de)(de)劇(ju)(ju)(ju)(ju)(ju)種。它(ta)的(de)(de)音(yin)樂唱腔溫婉抒情，清(qing)脆(cui)明朗。

“文化大革命”期間，新(xin)城(cheng)戲劇(ju)團(tuan)改為文工團(tuan)，劇(ju)種的建設(she)受(shou)到影響。1978年在(zai)(zai)恢復新(xin)城(cheng)戲劇(ju)團(tuan)之后，劇(ju)種建設(she)又(you)再(zai)度掀起高潮(chao)。八(ba)十年代初，劇(ju)團(tuan)和縣文化主(zhu)管部門決定突出滿(man)族(zu)特點，建設(she)新(xin)城(cheng)戲劇(ju)種，同時又(you)成立了扶余縣新(xin)城(cheng)戲藝術研究室(shi)，著手編演(yan)滿(man)族(zu)題(ti)材的新(xin)劇(ju)目《紅(hong)羅女》，并在(zai)(zai)音樂、表演(yan)和服裝、化妝等方面進一步向滿(man)族(zu)歌舞靠攏。

至(zhi)1966年，新(xin)城(cheng)(cheng)戲戲劇(ju)團編創和(he)移植了二十多個(ge)劇(ju)目(mu)，先(xian)后上演(yan)(yan)達一千(qian)七(qi)百余(yu)場，并曾先(xian)后至(zhi)白(bai)城(cheng)(cheng)、長春、四平等巡回(hui)演(yan)(yan)出。扶余(yu)縣(xian)新(xin)城(cheng)(cheng)戲劇(ju)團這個(ge)劇(ju)種唯一的專業劇(ju)團，主要(yao)活(huo)動在(zai)扶余(yu)及(ji)白(bai)城(cheng)(cheng)一帶和(he)附近各縣(xian)，此外，在(zai)扶余(yu)還有一些業余(yu)劇(ju)團或文藝宣傳(chuan)隊也演(yan)(yan)出新(xin)城(cheng)(cheng)戲。

藝術特色

曲(qu)(qu)(qu)(qu)(qu)藝八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)音樂(le)為(wei)聯(lian)曲(qu)(qu)(qu)(qu)(qu)體(ti)(ti)，現今存留(liu)的(de)曲(qu)(qu)(qu)(qu)(qu)牌(pai)有(you)(you)〔四(si)句(ju)板(ban)(ban)(ban)(ban)(ban)(ban)〕、〔茨(ci)山(shan)(shan)(shan)〕、〔揀菊(ju)花(hua)(hua)〕、〔太(tai)平(ping)年(nian)〕、〔靠(kao)山(shan)(shan)(shan)調(diao)〕、〔柳青娘(niang)〕、〔數(shu)唱(chang)〕等(deng)二十七(qi)個。發展為(wei)新城戲后，八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)逐(zhu)漸成(cheng)為(wei)板(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)體(ti)(ti)和聯(lian)曲(qu)(qu)(qu)(qu)(qu)體(ti)(ti)相結合的(de)綜合體(ti)(ti)式，其板(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)部分(fen)是以八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)的(de)〔四(si)句(ju)板(ban)(ban)(ban)(ban)(ban)(ban)〕、〔靠(kao)山(shan)(shan)(shan)調(diao)〕兩個曲(qu)(qu)(qu)(qu)(qu)牌(pai)為(wei)基(ji)礎，吸(xi)收(shou)了(le)其他(ta)曲(qu)(qu)(qu)(qu)(qu)牌(pai)的(de)個別樂(le)句(ju)發展而(er)成(cheng)。經過多年(nian)的(de)探(tan)索實踐，八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)逐(zhu)漸形成(cheng)了(le)慢(man)板(ban)(ban)(ban)(ban)(ban)(ban)、三眼、原板(ban)(ban)(ban)(ban)(ban)(ban)、彈頌板(ban)(ban)(ban)(ban)(ban)(ban)、行板(ban)(ban)(ban)(ban)(ban)(ban)、快(kuai)四(si)板(ban)(ban)(ban)(ban)(ban)(ban)、數(shu)板(ban)(ban)(ban)(ban)(ban)(ban)、垛板(ban)(ban)(ban)(ban)(ban)(ban)、流水、快(kuai)板(ban)(ban)(ban)(ban)(ban)(ban)、散板(ban)(ban)(ban)(ban)(ban)(ban)（包(bao)括導板(ban)(ban)(ban)(ban)(ban)(ban)和快(kuai)打(da)慢(man)唱(chang)）等(deng)各(ge)種板(ban)(ban)(ban)(ban)(ban)(ban)式。根據演出的(de)需要，也經常使用(yong)(yong)(yong)一些獨立(li)的(de)曲(qu)(qu)(qu)(qu)(qu)牌(pai)，如〔太(tai)平(ping)年(nian)〕、〔剪剪花(hua)(hua)〕、〔茨(ci)山(shan)(shan)(shan)〕、〔數(shu)唱(chang)〕、〔娃娃腔(qiang)(qiang)(qiang)(qiang)〕等(deng)。八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)在板(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)和曲(qu)(qu)(qu)(qu)(qu)牌(pai)的(de)運(yun)用(yong)(yong)(yong)上也比較靈活：有(you)(you)時(shi)板(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)和曲(qu)(qu)(qu)(qu)(qu)牌(pai)結合使用(yong)(yong)(yong)，有(you)(you)時(shi)只(zhi)用(yong)(yong)(yong)板(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)(qiang)(qiang)(qiang)，有(you)(you)時(shi)則是把曲(qu)(qu)(qu)(qu)(qu)牌(pai)聯(lian)接起(qi)來使用(yong)(yong)(yong)。唱(chang)腔(qiang)(qiang)(qiang)(qiang)的(de)主要特(te)點是旋(xuan)律(lv)經常使用(yong)(yong)(yong)四(si)、五度(du)(du)的(de)連續跳進，又二度(du)(du)上行的(de)旋(xuan)法，加(jia)之旋(xuan)律(lv)進行跳動(dong)幅度(du)(du)較大（有(you)(you)的(de)竟達兩個八(ba)(ba)(ba)度(du)(du)），拖腔(qiang)(qiang)(qiang)(qiang)長而(er)委婉，因而(er)形成(cheng)了(le)其獨特(te)的(de)風格。男女(nv)分(fen)腔(qiang)(qiang)(qiang)(qiang)采(cai)用(yong)(yong)(yong)同調(diao)異腔(qiang)(qiang)(qiang)(qiang)的(de)方法，即(ji)男女(nv)腔(qiang)(qiang)(qiang)(qiang)基(ji)本上相差四(si)、五度(du)(du)。八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)的(de)主奏樂(le)器(qi)是高胡，配以二胡、揚琴、三弦組成(cheng)四(si)大件。但也有(you)(you)的(de)板(ban)(ban)(ban)(ban)(ban)(ban)式和曲(qu)(qu)(qu)(qu)(qu)牌(pai)如彈頌板(ban)(ban)(ban)(ban)(ban)(ban)，就(jiu)只(zhi)用(yong)(yong)(yong)琵琶和古箏(zheng)，打(da)擊樂(le)器(qi)則配以八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)。數(shu)板(ban)(ban)(ban)(ban)(ban)(ban)只(zhi)用(yong)(yong)(yong)揚琴和八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)(gu)。

新城戲音樂(le)(le)整體上以(yi)八(ba)角鼓為(wei)(wei)基礎，吸收滿(man)(man)族(zu)民(min)間音樂(le)(le)(滿(man)(man)族(zu)民(min)歌(ge)、太平鼓等)，以(yi)板式變化為(wei)(wei)主，兼用(yong)曲(qu)牌。行當(dang)以(yi)生(sheng)(小生(sheng)、老生(sheng))、旦(dan)(青衣、花旦(dan))、丑(文(wen)丑)為(wei)(wei)主，長于(yu)(yu)表現悲歡離合的(de)(de)故(gu)(gu)事情(qing)節以(yi)及輕松喜(xi)悅的(de)(de)故(gu)(gu)事。1963年以(yi)后，曾(ceng)編演一些多(duo)(duo)行當(dang)的(de)(de)文(wen)武(wu)并(bing)重的(de)(de)劇(ju)目(mu)。表演取(qu)京劇(ju)的(de)(de)唱、做、打兼收滿(man)(man)族(zu)民(min)間舞(wu)蹈，具有(you)滿(man)(man)族(zu)歌(ge)舞(wu)特色。念白可以(yi)分為(wei)(wei)韻白與散白兩種。韻白類似評劇(ju)的(de)(de)上韻，多(duo)(duo)用(yong)于(yu)(yu)古代戲官宦和才子(zi)佳人。散白是東北地(di)方語音的(de)(de)說白，多(duo)(duo)用(yong)于(yu)(yu)古代戲中(zhong)平民(min)百姓和滑稽腳色。在現代戲中(zhong)一律(lv)運用(yong)散白。

傳承保護

2021年5月(yue)24日(ri)，吉林(lin)省松原(yuan)市申(shen)報的滿族(zu)新城戲(xi)經國務(wu)院批準列入(ru)第五批國家(jia)級非物質(zhi)文化遺產代表(biao)性項目名錄。

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