Luogushu (Recitative with Gong and Drum Hits) 锣鼓书

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, story-telling
地区：上海
Region: Shanghai Municipality
编号：Ⅴ-22
Ref. No.: V-22
申报地区或单位：上海市南汇区
Nominating unit[s]: Nanhui District, Shanghai Municipality
锣鼓书旧称"太保书"，"太保"系由上海郊县农村中求保佑太平的活动"太卜"衍化而成。因演出时由演员自击锣鼓演唱故事，民间亦称之为"堂锣书"、"神鼓书"。新中国成立后，合其名称为"锣鼓书"。锣鼓书的起源与形成期尚无确考，形成地点在上海市郊，清末民初已广泛流行于沪郊东、西乡，并传布到浙江嘉兴平湖一带。
Luogushu was formerly known as "Taibaoshu", wher "Taibao" was derived from an event called "Taibu"which was held by people to pray for peace in the suburban and rural areas of Shanghai. Since the performer has to beat a drum and gong by him/herself while singing stories, Luogushu was also called "Tangluoshu" or "Shengushu" by the folk people. After the founding of People's Republic of China, the two names mentioned above were combined together as one (i.e. "Luogushu"). The origin and formation period of Luogushu have yet to be further studied and verified. However, it was generally believed that this art was first developed in the outskirts of Shanghai. During the late Qing Dynasty and early Republic of China, Luogushu had been widely popular in Dongxiang and Xixiang areas of Shanghai, and even spread to Jiaxing and Pinghu areas of Zhejiang Province.
"太卜"仪式类似道教的道场，其目的是为生者驱瘟逐疫。仪式以说唱形式表现，有道白、吟唱、独唱、对唱等。内容系民间传说和历史故事，与宗教仪式无关，仅用以乐神娱民。久而久之，这种形式逐渐从宗教仪式中脱胎而出，发展为单独的民间说唱形式。
"Taibu" ritual is quite similar to that of Taoism and is aimed to drive away plagues or epidemic diseases from the living beings. The ritual takes the form of story-telling and singing, including the story-telling part, chanting part, solo part and antiphonal singing part etc. The contents are based on folklores and historical stories, but they have nothing to do with religious rites and are used only for pleasing God and entertaining people. As time goes by, this ritual has gradually been separated from the religious rites and developed into an independent folk art in the form of story-telling and singing.
锣鼓书的基本演出形式是演员自击锣鼓，唱表说书。早期都是单人坐演，20世纪50年代末逐渐改为双人或多人站立说唱乃至表演唱，伴奏乐器亦逐渐增加，配有琵琶、扬琴等丝弦小乐队，而常用的主要演出形式为单人说唱配乐队。流传过程中因地域不同，锣鼓书音乐有川沙、南汇一带的"东乡"和松江、金山一带的"西乡"之分，曲调有【金平调】、【调】等。
Luogushu is generally performed as follows: the performer sings and tells stories while beating a drum and gong by him/herself. At the beginning, Luogushu was performed by a single person seated. However, it had gradually changed its form and been performed by two or more people standing up and telling stories by singing or even singing with actions by the end of 1950s. There had also been an increasing number of accompanying musical instruments, wher Luogushu was often accompanied by Chinese lutes, dulcimers and other stringed instruments and the main and commonly-used performance form was solo singing accompanied by a string orchestra. Due to geographical differences, the areas to which the Luogushu was spread can be divided into "East Area"(including Chuansha, Nanhui etc.) and West "Area" (including Songjiang, Jinshan etc.). Its tunes include [Jinping Tune], [Tune], etc.
20世纪三四十年代，上海的太保书颇为繁盛。南汇城厢出现了专说太保书等的茶园"鲁班阁"。下沙一带因艺人代代相传，成为荟萃太保书艺人的"太保窝"。外号黑皮的艺人徐连奎把太保书一直唱入上海市区城隍庙。抗日战争时期，太保书正式进入市区，当时较有影响的演员有胡善言、王俊发等。
Taibaoshu flourished in Shanghai in 1930s and 1940s. The tea house "Luban Pavilion" had emerged at that time and it was built specifically for performing Taibaoshu in the Nanhui area. Since Taibaoshu had been passed down from generation to generation in Xiasha, Xiasha had actually become a "Taibao Home" for gathering together Taibaoshu artists. The artists Xu Liankui (whose nickname was "black skin") performed Taibaoshu all the way to Chenghuang Temple of Shanghai Municipality. During the Anti-Japanese War period, Taibaoshu formally entered the urban area, and the influential performers at that time include Hu Shanyan, Wang Junfa etc.
1949年以后，仅有少数沪书艺人兼唱太保书。1957年，上海市文化局挖掘民间曲艺，艺人胡善言创作了现代中篇节目《打盐局》，南汇县文化馆又推陈出新，编演了第一部以"锣鼓书"为曲种名的现代短篇节目《芦花荡里稻谷香》。从此，太保书改名为锣鼓书，以革新面目渐渐复苏于业余曲艺舞台。
After 1949, there were only a small number of Shanghai artists who could perform Taibaoshu. In 1957, Shanghai Cultural Bureau began to rediscover Chinese folk art forms. The artist Hu Shanyan created a medium-length modern show named Da Yan Ju while the Cultural Center of Nanhui County had also made its creative efforts and prepared Rice Fragrance in Luhuadang which was a short modern show and named after "Luogushu". Since then, Taibaoshu was renamed as Luogushu and gradually came back to the amateur opera stage with a brand new look.
锣鼓书演出多以长篇和中篇的传统书目为主，1949年以后的业余演出则以现代题材的短篇和开篇为主。传统书目有"小书"（即重唱的文书）与"大书"（即重说的武书）之别，但以"小书"居多，如《网船过渡》、《九更天》、《高桥八美图》、《双珠球》、《玉蜻蜓》、《珍珠塔》、《白蛇传》、《文武香球》等；"大书"则有《英烈传》、《罗通扫北》、《呼家将》、《后兴唐》、《七剑十三侠》等。《王婆骂鸡》、《芦花荡里稻谷香》等短篇节目，《打盐局》、《林冲夜奔》等中篇节目及《十二月野花名》、《螳螂做亲》等开篇节目都有一定的代表性。锣鼓书的内容多取材于民间传说、演义小说和家庭伦理与历史故事，具有浓厚的乡土风味与地方特点。
The repertoire of Luogushu for the most part consists of long and medium-length traditional shows. It was not until 1949 did short and introductory shows with modern themes begin to play a major role in the amateur performance. Traditional shows can be divided into "Small Shu" (i.e. ensemble of Wen Shu) and "Big Shu" （i..e. ensemble of Wu Shu). "Small Shu", however, is in the majority, which includes Net Boat Transition, Jiu Geng Tian, Eight Beauties on Gaoqiao Bridge, Shuang Zhu Qiu, Jade Dragonfly, Pearl Tower, Legend of White Snake, Wen Wu Xiang Qiu etc, while "Big Shu" includes Heroes, Law Tung Conquers the North, Hu Jia Jiang, Hou Xing Tang, Seven Swords and Thirteen Swordsmen, etc. The short shows such as Mrs. Wang Cursing the Chicken and Rice Fragrance in Luhuadang, medium-length shows such as Da Yan Ju and Lin Chong Flees in the Night, and introductory shows such as Wildflowers of December and Mantis' Marriage are typical to some extent. The contents of most Luogushu shows are based on historical novels, family ethics and historical stories and have a strong local flavor and regional characteristics.
由于时代的变迁，锣鼓书演出萎缩，老艺人相继谢世，现今能表演的艺人锐减至5人，整个锣鼓书已到了难以生存的地步，急需加以扶持和保护。
As time goes by, Luogushu has been falling out of favor. Since old artists have passed away one after another, nowadays there are only 5 artists who actually can perform this art. This means Luogushu has come to a point that it could hardly survive, and hence immediate support and protection measures are required so as to prevent this art from being lost.
相关传承人：
Inheritor(s):
谈敬德 康文英
Tan Jingde and Kang Wenying