Suzhou Pingtan 苏州评弹

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, Story-telling
地区：江苏
Region: Jiangsu Province
编号：Ⅴ—1
Ref. No.: V-1
申报地区或单位：江苏省苏州市
Nominating unit[s]: Suzhou City, Jiangsu Province
苏州评话是采用以苏州话为代表的吴语方言徒口讲说表演的曲艺说书形式，流行于江苏南部和浙江北部，包括上海大部的吴语地区，通常与苏州弹词合称“苏州评弹”。在流行地区，苏州评话俗称“大书”，苏州弹词俗称“小书”，总称“说书”。
Suzhou pinghua is a folk vocal art form of recitative, performed in Wu dialects represented by Suzhou dialect without any accompaniment. It is popular in south Jiangsu Province and north Zhejiang Province covering most Wu-dialect-speaking regions in Shanghai. Generally speaking, Suzhou pinghua and Suzhou tanci are collectively known as Suzhou pingtan. Suzhou pinghua is called Dashu and Suzhou tanci is called Xiaoshu, both known as “story-telling” in the places wher they are popular.
苏州评话至迟在明末清初就已形成，清代中叶进入鼎盛时期，成立有行会组织光裕社。至咸丰、同治年间，出现了说演《水浒》的姚士章等名家。
Suzhou pinghua came into being no later than the late Ming Dynasty and early Qing Dynasty, and it reached its peak in the Mid Qing Dynasty when a trade association -- Guangyu Association - was established. During the reigns of Emperor Xianfeng and Emperor Tongzhi, there were some famous story-tellers of Heroes of the Marshes (or Shui Hu) such as Yao Shizhang.
苏州评话的艺术传统非常深厚。表演以第三人称即说书人的口吻来统领叙述，中间插入第一人称即故事中人物的语言进行摹学。摹学故事中人物的语言举止叫做“起角色”，第三人称的说演称“表”，第一人称的说演称“白”，表和白以散文为主，也有用作念诵表演的部分韵文，包括赋赞、挂口、引子和韵白等。表演注重制造喜剧性的噱头，有“噱乃书中之宝”的说法。又因演员在语言运用和“起角色”等方面的不同特色，形成有不同的风格流派。如说演严谨，语言表达基本固定，叫做“方口”；随机应变，舌底生花，善于即兴发挥，为适应不同的听众而随时变化，叫做“活口”；说表语如联珠，铿锵有力，叫做“快口”，相反则为“慢口”；以说表见长，少起角色，称为“平说”。其艺术上的发达为同类说书形式所少有。
Suzhou pinghua has a quite profound artistic tradition. It is narrated primarily by the third pronoun -- the story-teller and larded with the first pronoun that refers to mimic figures in the story to speak. In mimicking stories, language and behaviors of figures are called role-playing, and story-telling in the third pronoun is called “Biao” while that in the first pronoun is called “Bai”. Most of the Biao and Bai are prose, and part of them are verse used for reciting performance, including Fuzan (descriptions about sceneries, background, mental activities and characteristics of figures in the story), Guakou (self-introduction of the story-teller), Yinzi (brief introduction about the whole story) and Yunbai (a summery of earlier plot). The performance focuses on producing comic effect by telling jokes and there is a saying “joke-telling is a treasure for story-telling”. Different language performances of actors and roles-playing resulted in diversified styles. For instance, the performance that is scrupulous with fixed language is called Fangkou; if the story-teller is changeable in different occasions with witty remarks and good at improvising according to different audience, it is called Huokou; if the story-teller speaks fast, humorously and sonorously, the performance is called Kuaikou, otherwise it is called Mankou; if the story-teller is good at narrating Biao with less role-playing, the performance is called Pingshuo. It is almost the most artistically developed of same story-telling forms.
苏州评话的传统节目约有五十多部，其中包括讲史性的《西汉》、《东汉》、《三国》、《隋唐》、《金枪》、《岳传》、《英烈》等，俗称“长靠书”，又称“着甲书”；侠义性的《水浒》、《七侠五义》、《小五义》、《绿牡丹》、《金台传》等，俗称“短打书”，此外还有神怪故事和公案书如《封神榜》、《济公传》、《彭公案》、《施公案》等。
There are more than 50 traditional works of Suzhou pinghua, including historical stories like Changkaoshu and Zhuojiashu such as The West Han Dynasty (or Xi Han), The East Han Dynasty (or Dong Han), The Romance of the Three Kingdoms Period (or San Guo), The Sui and Tang Dynasties (or Sui Tang), Jin Qiang, Biography of Yue Fei (or Yue Fei Zhuan) and The Romance of Founding of the Ming Dynasty (or Ying Lie), chivalrous stories which are all known as Duandashu, such as Heroes of the Marshes (or Shui Hu), The Seven Heroes and Five Gallants (or Qi Xia Wu Yi), Five Junior Gallants (or Xiao Wu Yi), Green Peony (or Lv Mu Dan) and Biography of Jintai (or Jin Tai Zhuan), and some other immortal, ghost and detective stories such as Apotheosis of Heroes (or Feng Shen Bang), Biography of Jigong (or Ji Gong Zhuan), Cases of Lord Peng (or Peng Gong An) and Cases of Lord Shi (or Shi Gong An).
苏州评话的节目形态多属长篇故事，分回逐日连说。每天说演一回，每回约一个半小时。通常一部书能连说月余，长的可达一年半载。其艺术表现以单线顺叙为主，用“未来先说、过去重提”的方法进行前后呼应，同时用不断设置“关子”的办法来制造悬念，吸引听众。中华人民共和国成立后，苏州评话编演了一批新书目，重要的有《江南红》、《铁道游击队》、《林海雪原》、《烈火金钢》、《敌后武工队》等，还出现了一些中短篇节目。
Most works of Suzhou pinghua are long stories that are told by excerpts successively day by day. One excerpt is narrated for about one and a half hours everyday. Usually, the story-telling of one work could last for several months but some may last longer for half a year or even a year. It is artistically presented in single-line chronological order by using the method of “tell future events first and recalling the past” to make the beginning and end to echo and setting suspense from time to time to arouse audience's interest. After the founding of the People’s Republic of China, many new books of Suzhou pinghua were written and influential ones are Anti-Japanese War Stories in Regions South of the Yangtze River （or Jiang Nan Hong), Railway Guerillas (or Tie Dao You Ji Dui), Tracks in the Snow Forest (or Lin Hai Xue Yuan), Steel Meets Fire (or Lie Huo Jin Gang) and Armed Working Team behind Enemy Lines (or Di Hou Wu Gong Dui). Some medium and short stories were created at that time as well.
近些年来，苏州评话听众锐减，书场萎缩，艺人大量流失，生存发展面临危机，急需加以扶持和保护。
Recent years Suzhou pinghua has witnessed a sharp reduction in the number of audiences, a shrinking market, loss of performers, and a survival and development crisis. Hence, urgent measures are required to support and protect this art.
苏州评弹 苏州弹词
Suzhou pingtan Suzhou tanci
申报地区或单位：江苏省苏州市
Nominating unit[s]: Suzhou City, Jiangsu Province
苏州弹词是以说唱相间的方式用苏州方言表演的“小书”类曲艺说书形式，发源并流行于以苏州为中心的江苏东南部、浙江北部和上海等吴语方言区，大约形成于明末清初。由于和苏州评话同属说书行业，曾经拥有共同的行会组织，民间即习惯性地将其与苏州评话合称之为“苏州评弹”。
Suzhou tanci is a kind of story-telling and singing, one of Xiaoshu folk vocal art forms, performed in Suzhou dialect. It originated and has been popular in southeast Jiangsu Province centering on Suzhou City, northern Zhejiang Province and most Wu-dialect-speaking regions in Shanghai since the late Ming Dynasty and early Qing Dynasty. Since it belongs to the story-telling trade as Suzhou pinghua does and is under the same trade association as the latter, both were naturally called Suzhou pinghua by locals.
苏州弹词的表演通常以说为主，说中夹唱。唱时多用三弦或琵琶伴奏，说时也有采用醒木作为道具击节拢神的情形。演唱采用的音乐曲调为板腔体的说书调，即所谓“书调”。因流传中形成了诸多的音乐流派，故“书调”又被称之为“基本调”。早期演出多为一个男艺人弹拨三弦“单档”说唱，后来出现了两个人搭档的“双档”和三人搭档的“三个档”表演。
Suzhou tanci is performed primarily in form of story-telling, larded with story-singing. The singing parts are usually accompanied by playing the Sanxian (a three-stringed plucked instrument) or Pipa (a plucked string instrument with a fretted fingerboard) while in some telling parts, an attention-catching block is used to beat a rhythm to attract the audience's attention. Its musical tune belongs to the aria of cavity plate of the tone of story-telling. In the course of inheritance, many musical styles have been developed. Hence the tone of story-telling was also known as fundamental tone. In early stage, it was performed by a single male artist playing the Sanxian, which was called Monologue performance; later, it involved two narrators called Double-partner performance or three narrators called Three-partner performance.
苏州弹词的艺术传统非常深厚，技艺十分发达。“说”指叙说；“噱”指“放噱”即逗人发笑；“弹”指使用三弦或琵琶进行伴奏，既可自弹自唱，又可相互伴奏和烘托；“唱”指演唱。讲究“说噱弹唱”。其中“说”的手段非常丰富，有叙述，有代言，也有说明与议论。艺人在长期的说唱表演中形成了诸如官白、私白、咕白、表白、衬白、托白等等功能各不相同的说表手法与技巧，既可表现人物的思想活动、内心独白和相互间的对话，又可以说书人的口吻进行叙述、解释和评议。艺人还借鉴昆曲和京剧等的科白手法，运用嗓音变化和形体动作及面部表情等来“说法中现身”，表情达意并塑造人物。在审美追求上，苏州弹词讲求“理、味、趣、细、技”。“理者，贯通也。味者，耐思也。趣者，解颐也。细者，典雅也。技者，工夫也”。
Suzhou tanci has a quite profound artistic tradition and its performing skills are highly developed. And it lays stress on Shuo (story-telling), Xue (joke-cracking), Tan (music-playing) and Chang (aria-sing). Shuo means story-telling; Xue also known as Fangxue refers to tell joke to amuse people; Tan means playing the Sanxian or Pipa that can be played by the narrator while singing or by others to accompany; Chang refers to story-singing. Ways for story-telling are diversified, such as, narrating, speaking for others, explaining and arguing. Many narrating methods and skills such as Guanbai, Sibai, Gubai, Biaobai, Chenbai and Tuobai have been developed from story-telling performances of artists for a long time, not only to present figures' thoughts, interior monologue and conversations with each other, but also to narrate, explain and comment in the tone of the narrator. The artists also used the Kebai technique of Kunqu opera and Beijing opera for reference to present characters through telling stories and convey ideas and feelings or create characters by using the changes of their voices, gestures and facial expressions. From the perspective of aesthetic appreciation, Suzhou tanci pursues for Li, Wei, Qu, Xi and Ji, which means separately being logical, meaningful, interesting, classical and skillful.”
苏州弹词的节目以长篇为主，传统的代表性节目有《三笑》、《倭袍传》、《描金凤》、《白蛇传》、《玉蜻蜓》、《珍珠塔》等几十部。早期的著名艺人有清代的王周士、陈遇乾、毛菖佩、俞秀山、陆瑞廷、姚豫章、马如飞、赵湘舟和王石泉等。清末民初出现了大批女演员。20世纪30年代以来，随着广播电台的兴起，苏州弹词进入鼎盛期，节目丰富，流派纷呈，以演唱的音乐风格区分，就有“沈（俭安）调”、“薛(筱卿)调”、“魏（钰卿）调”、“夏（荷生）调”、“周（玉泉）调”、“徐(云志)调”、“蒋(月泉)调”等十多种。
Most works of Suzhou tanci are long stories, typically represented by Three Charming Smiles (or San Xiao), Legend of Wo Pao (or Wo Pao Zhuan), Hairpin with A Golden-phoenix (or Miao Jin Feng), Legend of the White Snake (or Bai She Zhuan), Jade Dragonfly (or Yu Qing Ting), The Peal Tower (or Zhen Zhu Ta), etc. Famous artists in early stages included Wang Zhoushi, Chen Yuqian, Mao Changpei, Yu Xiushan, Lu Ruiting, Yao Yuzhang, Ma Rufei, Zhao Xiangzhou and Wang Shiquan. During the late Qing Dynasty and early Republic of China, there were a bunch of actresses. Since the 1930s, as the development of broadcasting programs, Suzhou tanci had reached its peak with various works and different styles. For instance, in terms of the musical styles, there were more than ten tones such as Shen (Jian’an)Tone, Xue (Xiaoqing) Tone, Wei (Yuqing) Tone, Xia (Hesheng) Tone, Zhou (Yuquan) Tone, Xu (Yunzhi) Tone and Jiang (Yuequan) Tone.
中华人民共和国成立后，苏州弹词艺术经过艺人们自觉的整旧创新，艺术上有了很大的飞跃。新节目不断涌现，长篇有《白毛女》、《新儿女英雄传》、《李闯王》、《青春之歌》、《苦菜花》、《红岩》、《野火春风斗古城》、《红色的种子》、《江南红》、《夺印》、《李双双》等，中篇和常独立演出的“选回”有《老地保》、《厅堂夺子》、《玄都求雨》、《花厅评理》、《怒碰粮船》、《庵堂认母》和《一定要把淮河修好》、《海上英雄》、《芦苇青青》、《新琵琶行》、《白衣血冤》、《大脚皇后》等。
Since the founding of the People’s Republic of China, great progress has been made in Suzhou tanci as a result of reformation and innovation by artists initiatively. New works were unceasingly created, including long stories such as The White-Haired Girl (or Bai Mao Nv), New Story of Heroic Sons and Daughters (or Xin Er Nv Ying Xiong Zhuan), Biography of Li Zicheng (or Li Chuang Wang), The Song of Youth (or Qing Chun Zhi Ge), Bitter Cauliflower (or Ku Cai Hua), The Red Rock (or Hong Yan), Wild Fire Fighting the Ancient city of Spring (or Ye Huo Chun Feng Dou Gu Cheng), The Red Seed (or Hong Se De Zhong Zi), Anti-Japanese War Stories in Regions South of the Yangtze River (or Jiang Nan Hong), Stories in Xiaochen Village (or Duo Yin) and Biography of Li Shuangshuang (or Li Shuang Shuang), and medium stories and excerpts for independent performances such as The Old Local Constable (or Lao Di Bao), Fighting for the Son in the Hall (or Ting Tang Duo Zi), Praying for Rain (or Xuan Du Qiu Yu), Reasoning in Flower Hall (or Hua Ting Ping Li), Collision of Boat for Delivering Food on Purpose (or Nu Peng Liang Chuan), Seeing Mother in the Buddhist Convent (or An Tang Ren Mu), Have to Fix Huaihe River (or Yi Ding Yao Ba Huai He Xiu Hao), Hero on the Sea (or Hai Shang Ying Xiong), Green Reed (or Lu Wei Qing Qing), New Song of Pipa (or Xin Pi Pa Xing), The Injustice Case of a Doctor (or Bai Yi Xue Yuan) and Big-feet Queen (or Da Jiao Huang Hou).
然20世纪末期以来，苏州弹词听众锐减，书场萎缩，艺人大量流失，生存发展面临危机，亟待抢救和扶持。
However, since the late 20th century, Suzhou tanci has been confronted with a sharp dro in the number of audiences, a shrinking market, loss of artists, and a survival and development crisis. Hence, urgent measures are required to support and protect this art.
相关传承人：
Inheritor(s):
邢晏芝 金丽生 王月香 金声伯 余红仙 张国良 陈希安 杨乃珍
Xing Yanzhi, Jin Lisheng, Wang Yuexiang, Jin Shengbo, Yu Hongxian, Zhang Guoliang, Chen Xi’an, and Yang Naizhen.