Dongbei Dagu ('Big Drum Recitative') 东北大鼓

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, story-telling
地区：辽宁，黑龙江
Region: Liaoning Province and Heilongjiang Province
编号：Ⅴ-6
Ref. No.: V-6
申报地区或单位：辽宁省沈阳市
Nominating unit[s]: Shenyang City, Liaoning Province
东北大鼓是主要流行于我国东北即辽宁、吉林、黑龙江三省的曲艺鼓书暨鼓曲形式，因一度盛行于沈阳，而沈阳于清末曾设奉天府，故曾有"奉天大鼓"之称。民国十八年奉天省改称辽宁省后，又曾称作"辽宁大鼓"。东北大鼓约形成于清代中期，最初的表演形式是演唱者一人操小三弦自行伴奏说唱，并在腿上绑缚"节子板"击节，也叫"弦子书"。后发展成一人自击书鼓和简板演，另有人操大三弦等专司伴奏，说唱表演采用东北方音。
Dongbei Dagu (‘big drum recitative') is an art form of drum music and recitative, popular in Liaoning Province, Jilin Province and Heilongjiang Province. Since it once prevailed in Shenyang City wher Fengtian Prefecture was established in the late Qing Dynasty, it was also known as Fengtian Dagu. In 1929, Fengtian Province was renamed as Liaoning Province, and it was called Liaoning Dagu afterwards. Dongbei Dagu came into being in the mid-Qing Dynasty, and it was initially performed by a singer telling or singing stories while playing the Xiaosanxian (a small three-stringed plucked instrument) and hitting an allegro made of five bamboo boards and fastened onto the singer's leg. For this reason, it was also called "Xianzishu". Later, it was developed to be performed by a band consisting of a Shugu and Jianban player and accompanists including Dasanxian (a big three-stringed plucked instrument) player, telling stories and singing in the Northeast China dialect.
东北大鼓早期主要在乡村流行，民间俗称"屯大鼓"。演唱的曲调是当地人们熟悉的土腔土调，唱词也不甚讲究。许多艺人在演出中甚至当众翻看唱本，照本宣科地演出，俗称"把垛说书"。演出的节目以中篇为主，有《回杯记》、《瓦岗寨》、《彩云球》、《四马投唐》、《白玉楼》等。19世纪末东北大鼓进入城市，主要演唱短段节目，唱词也移植了一些子弟书词。知名艺人有车德宝、门振邦、王德生、张万胜等。20世纪初期，大批女艺人进入东北大鼓表演行列，男艺人退而伴奏。当时知名的女艺人有刘问霞、金蝴蝶、尹莲福、侯莲桂等，其中刘问霞曾获得过"奉天大鼓鼓王"的称号。号称"书场姊妹花"的朱玺珍和朱士喜姐妹挑梁的"朱家班"曾于20世纪30年代到天津演出，朱玺珍在那里被誉为"辽宁大鼓皇后"；由傅凌阁及其4个女儿傅凤云、傅翠云、傅桂云和傅慧云挑梁的"傅家班"，则将东北大鼓带到了北京。
In early time, Dongbei Dagu was mainly popular in rural areas, colloquially known as Tun Dagu. Its tunes were local tunes with which local people were quite familiar and its lyrics were unsophisticated. Some artists even read the script and then performed according to the script during their performances, which was called "Baduo Shuoshu". Most works were medium-length arias such as Second Sister Yang Missing Her Husband (or Hui Bei Ji), Wagang Village (or Wa Gang Zhai), Choi-wan Ball (or Cai Yun Qiu), Four Talents Submitting to the Tang Imperial Court (or Si Ma Tou Tang), Legend of the White Jade Building (or Bai Yu Lou). In the late 19th century, Dongbei Dagu was brought into urban areas. Some short arias were sung and the lyrics of Zidishu (a type of songs in the Qing Dynasty) were transplanted to this art. Famous artists included Che Debao, Men Zhenbang, Wang Desheng and Zhang Wansheng. In early 20th century, bunches of female artists started to join the performance force of Dongbei Dagu while male artists only played the instruments for accompaniment. The famous female artists included Liu Wenxia, Jin Hudie, Yin Lianfu and Hou Liangui. Of those, Liu Wenxia had won the title of Drum Queen of Fengtian Dagu. Zhujia Troupe, led by the "Storytelling Sisters" Zhu Xizhen and Zhu Shixi, gave performances in Tianjin Province in the 1930s wher Zhu Xizhen was honored to be the "Queen of Liaoning Dagu". Fujia Troupe, led by Fu Lingge and his four daughters Fu Fengyun, Fu Cuiyun, Fu Guiyun and Fu Huiyun, introduced Dongbei Dagu to Beijing City.
在长期的传播过程中，东北大鼓形成了不同的艺术流派，如20世纪中期出现的"奉调"、"东城调"、"江北派"、"南城调"和"西城调"等，各派都拥有自己的传统节目。"奉调"以沈阳为活动中心，唱腔徐缓，长于抒情，多演出《露泪缘》、《忆真妃》等移植子弟书词的短段节目，代表性艺人有霍树棠等；"东城调"以吉林为活动中心，以演唱《三国演义》和《红楼梦》题材的节目为主，代表性艺人有任占奎等；"江北派"以哈尔滨松花江以北地区为活动中心，代表性艺人有刘桐玺等；"南城调"以辽宁营口为活动中心，代表性艺人有徐香九等；"江北派"和"南城调"有一个共同的特点，就是表演的节目多说唱《呼家将》和《薛家将》等长篇大书；"西城调"以锦州为活动中心，擅长表演《罗成叫关》等悲壮故事，代表性艺人有陈清远等。
In the long course of its diffusion, there emerged different art schools like Feng Tone, Dongcheng Tone, Jiangbei School, Nancheng Tone and Xicheng Tone which came into being in the mid 20th century. All schools have been distinguished by their respective traditional shows. Feng Tone, popular in Shenyang-centered areas, was sung in a slow style for expressing emotions and employed in the short arias of transplanted Zidishu such as Predestined Heartbreaking (or Lu Lei Yuan), Memories on Concubine Yang (or Yi Zhen Fei). Its representative artist was Huo Shutang. Dongcheng Tone, popular in Jilin -centered areas, was mainly employed in shows with the theme of Romance of Three Kingdoms (or San Guo Yan Yi) and Dream of the Red Mansion (or Hong Lou Meng), and its representative artist was Ren Zhankui. Jiangbei School was popular in north Songhua River of Harbin City and its representative artist was Liu Tongxi. Nancheng Tone was popular in Yingkou City of Liaoning Province and its representative artist was Xu Xiangjiu. One common feature shared by Jiangbei School and Nancheng Tone was that their shows were all about long stories such as Warriors of the Hu Clan (or Hu Jia Jiang) and Warriors of The Xue Clan (or Xue Jia Jiang). Xicheng Tone, popular in Jinzhou City and its around areas, was employed in heroic and stirring stories such as Luo Cheng Calls the Grate Open (or Luo Cheng Jiao Guan) and its representative artist was Chen Qingyuan.
中华人民共和国成立后，东北大鼓创作表演反映现实生活的新节目较多，根据文学作品改编的重要的新节目有《烈火金钢》、《红岩》、《节振国》等长篇大书和《杨靖宇大摆口袋阵》、《白求恩》、《渔夫恨》、《毛主席来到十三陵》、《刑场上的婚礼》等短篇唱段。
After the founding of the People's Republic of China, there were many new Dongbei Dagu shows focusing on everyday life. Major new shows adapted from literature works included long stories such as Steel Meets Fire (or Lie Huo Jin Gang), The Red Rock (or Hong Yan) and Biography of Jie Zhen Guo (or Jie Zhen Guo), and some short arias such as Yang Jingyu Arranges Troops According to Bag-shaped Tactics (or Yang Jing Yu Da Bai Kou Dai Zhen), Norman Bethune (or Bai Qiu En), The Fishman's Revenge (or Yu Fu Hen), Chairman Mao Came to Shisanling (or Mao Zhu Xi Lai Dao Shi San Ling) and The Wedding on the Execution Ground (or Xing Chang Shang De Hun Li).
东北大鼓在流行地人民的娱乐生活中占有重要地位，其曲本和音乐也影响了其他艺术，如《忆真妃》被多种鼓曲移植，唱腔曲牌【慢西城】被二人转吸收等等。但在20世纪末期以来，东北大鼓的听众大批转移，传承和演出遇到严重困难，生存出现危机，在此情势下，保护和发展东北大鼓刻不容缓。
Dongbei Dagu plays an important role in the leisure life of the people in its prevalent areas. Its genres and music have had influence on other arts. For example, Memories on Concubine Yang (or Yi Zhen Fei) was borrowed by many other drum music forms, and the fixed-tune melody (Qupai) "Man Xi Cheng" was absorbed by Errenzhuan (a song-and-dance duet popular in the Northeast of China). Since the late 20th century, however, many audiences have shifted their interest in Dongbei Dagu to other fields, and inheritance and performance have been confronted with great challenges. The art is now at stake. In this situation, urgent measures are required for protecting and developing it.
相关传承人：
Inheritor(s):
夏晓华
Xia Xiaohua