新城戲是20世紀(ji)50年代末期60年代初葉,以流傳(chuan)于吉林(lin)省扶余(yu)一(yi)帶的(de)滿族曲(qu)藝八角鼓為基(ji)礎(chu)而逐(zhu)漸發展而成(cheng)的(de)。因為扶余(yu)鎮曾是清(qing)朝新城府治所,故(gu)而定名為新城戲。新城戲、黃龍戲與吉劇并稱我省的(de)三大劇種
一.歷史沿革
八(ba)角(jiao)鼓原先是(shi)滿族(zu)人(ren)民在(zai)行圍射獵的(de)(de)閑暇之(zhi)余所進行的(de)(de)民間藝(yi)術,大約(yue)在(zai)清(qing)朝乾(qian)隆(long)年(nian)間(1736-1795),逐漸(jian)發展為一種曲藝(yi)形(xing)(xing)式(shi)(shi)。八(ba)角(jiao)鼓一般(ban)是(shi)多(duo)人(ren)坐唱(chang)的(de)(de)形(xing)(xing)式(shi)(shi),樂器分別由演唱(chang)者操奏(zou),主唱(chang)者擊打八(ba)角(jiao)鼓,又有單(dan)口、對口、拆(chai)唱(chang)、群唱(chang)以及化裝(zhuang)表(biao)演等多(duo)種表(biao)現(xian)形(xing)(xing)式(shi)(shi)。在(zai)清(qing)代的(de)(de)時候,扶(fu)余曾是(shi)北方的(de)(de)重鎮之(zhi)一,文化較(jiao)發達,土著居民以滿族(zu)較(jiao)多(duo)。根據八(ba)角(jiao)鼓老藝(yi)人(ren)程殿選(1884-1969)介紹,自清(qing)朝后期至(zhi)20世(shi)紀30年(nian)代,曲藝(yi)八(ba)角(jiao)鼓在(zai)扶(fu)余頗為流(liu)行。當時,逢年(nian)過節,喜(xi)慶(qing)堂會,均演唱(chang)八(ba)角(jiao)鼓。八(ba)角(jiao)鼓藝(yi)人(ren)還經常演出于城(cheng)鎮的(de)(de)書(shu)場、茶肆、集市、農村等地。從(cong)抗(kang)日戰爭后期至(zhi)建國前夕,八(ba)角(jiao)鼓逐漸(jian)趨于消沉。
自(zi)清朝末期至中華國年間,扶余境內演(yan)唱八角鼓成風。民(min)間的喜(xi)慶(qing)和(he)官紳的堂(tang)會無(wu)不(bu)演(yan)唱八角鼓。演(yan)唱者滿族(zu)、漢(han)族(zu)皆有,職業(ye)演(yan)員和(he)業(ye)余團(tuan)體(ti)并(bing)存(cun)。在漢(han)族(zu)演(yan)唱者中,以程殿選的聲望比較高(gao),他既(ji)是持鼓主唱者,又是演(yan)出(chu)組織者。中華人民(min)共和(he)國建立之后,音樂工作者徐達音等按程殿選口(kou)授,記錄、整(zheng)理了四(si)十個曲(qu)目和(he)二十七個曲(qu)牌。
1955年(nian)(nian),在(zai)有(you)關部門(men)的(de)主(zhu)持下,八角(jiao)鼓(gu)作(zuo)(zuo)為(wei)滿族文化遺產被重新挖掘、搶救。1959年(nian)(nian),扶余當地的(de)文化主(zhu)管部門(men)組(zu)織一(yi)批八角(jiao)鼓(gu)老藝(yi)人(ren)和新文藝(yi)工作(zuo)(zuo)者(zhe)(zhe)對(dui)八角(jiao)鼓(gu)進行了戲(xi)曲化的(de)創(chuang)作(zuo)(zuo)和改(gai)編工作(zuo)(zuo),開(kai)始在(zai)八角(jiao)鼓(gu)基(ji)(ji)礎(chu)上(shang)(shang)創(chuang)建新劇(ju)種(zhong)(zhong)。同(tong)時還(huan)成(cheng)(cheng)立了扶余縣(xian)新劇(ju)種(zhong)(zhong)實(shi)驗劇(ju)團,編演(yan)實(shi)驗劇(ju)目《箭帕緣(yuan)》。因《箭帕緣(yuan)》的(de)首演(yan)取得巨(ju)大的(de)成(cheng)(cheng)功,次(ci)年(nian)(nian)就將新劇(ju)種(zhong)(zhong)正式(shi)命名為(wei)新城(cheng)戲(xi),改(gai)實(shi)驗劇(ju)團為(wei)新城(cheng)戲(xi)劇(ju)團。此后接連創(chuang)作(zuo)(zuo)和移植(zhi)了一(yi)批劇(ju)目,使劇(ju)種(zhong)(zhong)在(zai)縣(xian)內扎下深(shen)厚的(de)藝(yi)術(shu)根(gen)基(ji)(ji)。經過文藝(yi)工作(zuo)(zuo)者(zhe)(zhe)的(de)多(duo)年(nian)(nian)探索和實(shi)踐,將八角(jiao)鼓(gu)曲牌(pai)中的(de)〔靠(kao)山(shan)(shan)調〕、〔四句板〕作(zuo)(zuo)為(wei)主(zhu)要聲腔(qiang),在(zai)此基(ji)(ji)礎(chu)上(shang)(shang)創(chuang)作(zuo)(zuo)了慢板、原板、數板、行板、彈頌板、快(kuai)四板等(deng)多(duo)種(zhong)(zhong)板式(shi),并且在(zai)結合(he)板式(shi)的(de)基(ji)(ji)礎(chu)上(shang)(shang)運(yun)用(yong)了諸如〔太平年(nian)(nian)〕、〔揀菊花(hua)〕、〔娃娃腔(qiang)〕、〔茨山(shan)(shan)〕等(deng)曲牌(pai)格調,使它成(cheng)(cheng)為(wei)板式(shi)變化體(ti)與(yu)曲牌(pai)聯套體(ti)相結合(he)的(de)劇(ju)種(zhong)(zhong)。它的(de)音樂(le)唱腔(qiang)溫婉抒情,清脆明朗(lang)。
“文化(hua)大革命”期間(jian),新(xin)(xin)城戲劇(ju)(ju)(ju)團(tuan)(tuan)改為(wei)文工(gong)團(tuan)(tuan),劇(ju)(ju)(ju)種(zhong)(zhong)的建設(she)受到影響。1978年在(zai)恢(hui)復新(xin)(xin)城戲劇(ju)(ju)(ju)團(tuan)(tuan)之后,劇(ju)(ju)(ju)種(zhong)(zhong)建設(she)又再(zai)度掀(xian)起高(gao)潮。八(ba)十年代初,劇(ju)(ju)(ju)團(tuan)(tuan)和(he)縣文化(hua)主管部(bu)門決定突出滿族(zu)特點,建設(she)新(xin)(xin)城戲劇(ju)(ju)(ju)種(zhong)(zhong),同時又成(cheng)立了扶余(yu)縣新(xin)(xin)城戲藝術研究室(shi),著手編(bian)演(yan)滿族(zu)題材的新(xin)(xin)劇(ju)(ju)(ju)目《紅(hong)羅(luo)女》,并(bing)在(zai)音(yin)樂(le)、表演(yan)和(he)服(fu)裝、化(hua)妝等方面進一步向滿族(zu)歌舞靠(kao)攏。
至1966年(nian),新城(cheng)(cheng)(cheng)(cheng)戲戲劇(ju)(ju)團(tuan)編(bian)創和(he)移(yi)植了(le)二十多個(ge)劇(ju)(ju)目,先后上(shang)演達一(yi)千(qian)七百余(yu)(yu)場,并(bing)曾先后至白(bai)城(cheng)(cheng)(cheng)(cheng)、長春(chun)、四平等巡回(hui)演出。扶余(yu)(yu)縣新城(cheng)(cheng)(cheng)(cheng)戲劇(ju)(ju)團(tuan)這個(ge)劇(ju)(ju)種唯一(yi)的專業(ye)劇(ju)(ju)團(tuan),主要活動(dong)在扶余(yu)(yu)及白(bai)城(cheng)(cheng)(cheng)(cheng)一(yi)帶(dai)和(he)附近各縣,此外,在扶余(yu)(yu)還(huan)有一(yi)些業(ye)余(yu)(yu)劇(ju)(ju)團(tuan)或文藝宣傳隊(dui)也(ye)演出新城(cheng)(cheng)(cheng)(cheng)戲。
二.藝術特點
曲(qu)(qu)(qu)(qu)藝八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)音樂(le)為聯(lian)曲(qu)(qu)(qu)(qu)體,現今存留的(de)(de)曲(qu)(qu)(qu)(qu)牌(pai)(pai)有(you)〔四句(ju)(ju)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)〕、〔茨山(shan)(shan)〕、〔揀菊花(hua)〕、〔太(tai)平年〕、〔靠山(shan)(shan)調〕、〔柳青(qing)娘〕、〔數唱(chang)(chang)〕等二十(shi)七(qi)個(ge)。發(fa)展(zhan)為新(xin)城戲后(hou),八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)逐(zhu)漸成為板(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔體和(he)聯(lian)曲(qu)(qu)(qu)(qu)體相(xiang)結合的(de)(de)綜合體式(shi)(shi),其板(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔部分是以八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)的(de)(de)〔四句(ju)(ju)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)〕、〔靠山(shan)(shan)調〕兩個(ge)曲(qu)(qu)(qu)(qu)牌(pai)(pai)為基礎(chu),吸收了其他曲(qu)(qu)(qu)(qu)牌(pai)(pai)的(de)(de)個(ge)別樂(le)句(ju)(ju)發(fa)展(zhan)而(er)成。經過多年的(de)(de)探索實踐(jian),八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)逐(zhu)漸形成了慢板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、三(san)眼、原板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、彈頌板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、行(xing)(xing)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、快四板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、數板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、垛板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、流水、快板(ban)(ban)(ban)(ban)(ban)(ban)(ban)、散板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(包括導板(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)快打慢唱(chang)(chang))等各種板(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)(shi)。根據演出的(de)(de)需要,也經常使(shi)(shi)用(yong)一些獨立的(de)(de)曲(qu)(qu)(qu)(qu)牌(pai)(pai),如〔太(tai)平年〕、〔剪剪花(hua)〕、〔茨山(shan)(shan)〕、〔數唱(chang)(chang)〕、〔娃娃腔〕等。八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)在(zai)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔和(he)曲(qu)(qu)(qu)(qu)牌(pai)(pai)的(de)(de)運用(yong)上也比(bi)較(jiao)靈活:有(you)時(shi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔和(he)曲(qu)(qu)(qu)(qu)牌(pai)(pai)結合使(shi)(shi)用(yong),有(you)時(shi)只(zhi)用(yong)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔,有(you)時(shi)則是把曲(qu)(qu)(qu)(qu)牌(pai)(pai)聯(lian)接起來使(shi)(shi)用(yong)。唱(chang)(chang)腔的(de)(de)主要特點是旋(xuan)律經常使(shi)(shi)用(yong)四、五(wu)度的(de)(de)連續跳進,又二度上行(xing)(xing)的(de)(de)旋(xuan)法(fa),加(jia)之旋(xuan)律進行(xing)(xing)跳動幅度較(jiao)大(da)(有(you)的(de)(de)竟達兩個(ge)八(ba)(ba)(ba)度),拖腔長而(er)委婉,因而(er)形成了其獨特的(de)(de)風格。男(nan)女(nv)(nv)分腔采用(yong)同調異腔的(de)(de)方法(fa),即男(nan)女(nv)(nv)腔基本上相(xiang)差四、五(wu)度。八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)的(de)(de)主奏樂(le)器是高胡,配以二胡、揚(yang)琴、三(san)弦組成四大(da)件。但也有(you)的(de)(de)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)(shi)和(he)曲(qu)(qu)(qu)(qu)牌(pai)(pai)如彈頌板(ban)(ban)(ban)(ban)(ban)(ban)(ban),就只(zhi)用(yong)琵琶和(he)古(gu)箏,打擊樂(le)器則配以八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)。數板(ban)(ban)(ban)(ban)(ban)(ban)(ban)只(zhi)用(yong)揚(yang)琴和(he)八(ba)(ba)(ba)角(jiao)(jiao)(jiao)鼓(gu)。
新城(cheng)戲(xi)音(yin)(yin)樂整體(ti)上以(yi)八角鼓為(wei)(wei)基礎,吸收滿(man)族民間(jian)音(yin)(yin)樂(滿(man)族民歌、太(tai)平鼓等),以(yi)板式變化為(wei)(wei)主(zhu),兼(jian)用(yong)曲牌(pai)。行當以(yi)生(sheng)(小生(sheng)、老(lao)生(sheng))、旦(青衣、花旦)、丑(chou)(文(wen)丑(chou))為(wei)(wei)主(zhu),長于(yu)(yu)表(biao)現悲歡離合的(de)(de)故(gu)事(shi)情節以(yi)及輕松喜悅的(de)(de)故(gu)事(shi)。1963年以(yi)后,曾編演(yan)一些(xie)多行當的(de)(de)文(wen)武并重的(de)(de)劇(ju)目。表(biao)演(yan)取京劇(ju)的(de)(de)唱、做、打兼(jian)收滿(man)族民間(jian)舞蹈(dao),具有滿(man)族歌舞特色(se)。念(nian)白(bai)(bai)可以(yi)分為(wei)(wei)韻白(bai)(bai)與散白(bai)(bai)兩(liang)種。韻白(bai)(bai)類(lei)似評劇(ju)的(de)(de)上韻,多用(yong)于(yu)(yu)古(gu)代(dai)戲(xi)官宦和才(cai)子佳人(ren)。散白(bai)(bai)是東北地方語音(yin)(yin)的(de)(de)說(shuo)白(bai)(bai),多用(yong)于(yu)(yu)古(gu)代(dai)戲(xi)中平民百姓和滑稽(ji)腳色(se)。在現代(dai)戲(xi)中一律(lv)運用(yong)散白(bai)(bai)。
三.角色行當
新城(cheng)戲的(de)(de)(de)腳(jiao)(jiao)色(se)行(xing)在(zai)該劇(ju)(ju)(ju)種創(chuang)建的(de)(de)(de)初期,基本上是沿用京(jing)劇(ju)(ju)(ju)的(de)(de)(de)行(xing)當(dang)(dang)體制。其中(zhong)以(yi)旦腳(jiao)(jiao)的(de)(de)(de)青衣和花旦為(wei)主(zhu)。如古(gu)(gu)代(dai)戲《箭帕緣》里的(de)(de)(de)主(zhu)人公(gong)貞娘(niang)(花旦)和現代(dai)戲《戰風(feng)沙》里的(de)(de)(de)主(zhu)人公(gong)楊松梅等。七十年代(dai)末期,劇(ju)(ju)(ju)團開始著重(zhong)建設滿(man)族(zu)戲曲(qu)的(de)(de)(de)腳(jiao)(jiao)色(se)類別。自滿(man)族(zu)題材(cai)古(gu)(gu)代(dai)戲《紅羅女》的(de)(de)(de)創(chuang)作之后(hou),就大致放棄了原有的(de)(de)(de)行(xing)當(dang)(dang)。在(zai)人物表演上著重(zhong)從年齡、身份、性格等特點出(chu)發,并無(wu)(wu)明(ming)顯的(de)(de)(de)行(xing)當(dang)(dang)屬(shu)性。新城(cheng)戲的(de)(de)(de)身段大多從滿(man)族(zu)民間歌舞中(zhong)提煉而成(cheng),亦(yi)無(wu)(wu)固定的(de)(de)(de)行(xing)當(dang)(dang)程式(shi)。