Traditional Drama 传统戏剧 Yue Tone Opera 越调

时间：2006年
Date: 2006
类别：传统戏剧
Category: Traditional Opera
地区：河南
Region: Henan Province
编号：Ⅳ—27
Project No. IV-27
申报地区或单位：河南省周口市
Name of Applicant (region or institution): Zhoukou City, Henan Province
越调又名四股弦，是河南省古老的剧种，主要流传于陕南、鄂北、皖西、山东及河南各地，且在全国有一定的影响。越调清代乾隆年间开始在南阳等地流行，其后逐渐演变为专门的声腔剧种，清朝末年走向兴盛。剧种形成后，它主要以皮影越调戏、木偶越调戏和越调大戏班三种形式演出。
Yue Tone Opera, or Four-string, is an age-old opera of Henan Province, circulating mainly in South Shaanxi, North Hubei, West Anhui, Shandong and various parts of Henan Province. Also it has a wide popularity across the country. Dating back to the reign of Emperor Qianlong in Qing Dynasty, Yue Tone Opera began circulating in Nanyang and gradually changed into one sort of tone opera, reaching its peak toward the end of Qing Dynasty. Since then, it has been performed in the form of shadow show & Yue Tone Opera, puppet & Yue Tone Opera, and Yue Tone troupe performance.
在长期的发展过程中，越调形成了五百多个统剧目，尤以擅演“三国”而闻名，代表性剧目有《收姜维》、《下南唐》、《无佞府》、《李天保吊孝》、《白奶奶醉酒》、《李双喜借粮》、《火焚绣楼》、《诸葛亮吊孝》等。越调起源于曲牌体，后又加入板腔体，成为板腔体与曲牌体合一的独特剧种。其板式有慢板、流水、铜器调、赞子、导板、飞板、紧打慢唱、哭腔、吹腔、杂调等。越调曲牌有两百多个，多来自其他戏曲剧种和民间音乐，分笛牌和弦牌两部分。越调唱腔主要为“越调”，有时也兼唱吹腔、昆腔、七句半等，具有独特的风格，高亢明快，淳厚质朴，吐字清晰，以字代音，以声传情，唱中有笑，笑中有唱，既善于表现激昂慷慨、悲壮高歌的场面，又能抒发深沉、轻柔、哀怨的情感，具有中原地区民间音乐的特色和乡土气息。越调声腔艺术丰富，有自己的行当特色和套路板式。演员用本嗓演唱，辅以假声，净行唱腔的主音比其他行当高5度。伴奏分文、武场，文场乐器包括坠胡、笛子、二胡、唢呐、三弦、琵琶、闷子等，武场乐器包括板鼓、大小锣、堂鼓等。
During the long course of development, a total of 500 programs have taken shape for the Yue Tone Opera, esp. well-known for staging three kingdoms. The representative programs include The Capture of Jiang Wei, Going Down to Nantang, Wuning Mansions, Li Tianbao Pays Last Respect, The Drunken Granny, Li Shuangxi Borrows Grain, The Burning Down of the Chamber, and Zhuge Liang Pays the Last Respect. The Yue Tone developed from the opera tune and then mingled with the clapper tone before it finally became a unique opera of mixed qualities. The clapper beats include slow clappers, water flow, bronze tone, Zanzi (eulogy), conducting clappers, flying clappers, quick beat & slow chant, wailing tone, blowing tone and mixed tone. The tune schemes total more 200, mostly adapted from other operas and folk music falling into flute scheme and string scheme. The chanting tone of Yue Tone Opera basically follow the Yue tone, with occasional elements of blowing tone, Kun Opera tone and seven sentences and a half. It has a unique style – quick tempo, plain honesty, distinct articulation and admixture of chant and laughter; it is suitable for expressing the passionate, excited and saddening scenes as well as measured, soft and lamenting moods, with distinct feature of folk music and local flavor of the central plain area. The tones of Yue Tone Opera abound while displaying its own feature and pattern. The performers use real voice for chanting complemented by false voice while the major tone of painted face is five degrees higher than that of other roles. The accompaniment also falls into Quiet Setting and Dynamic Setting: the musical instruments for the former include Zhuihu fiddle, flute, Erhu, trumpet, Three-string fiddle, Pipa zither, and Menzi zither while those for the latter involve clapper drum, big and small gongs, and hall drum.
越调的脚色行当齐全，包括大红脸、二红脸、文生、武生、大净、二毛、三花脸、正旦、花旦、闺门旦、浪旦、武旦、老旦等十几种，每个行当都有鲜明的个性色彩。在长期的舞台实践中，滋生出了申凤梅和毛爱莲为代表的一些著名表演流派。
The Yue Tone has a full range of roles, including red face, secondary red face, male, martial male, painted face, secondary hairy face, third painted face, female, young female, unmarried female, immoral female, martial female, and senior female, totaling over a dozen. Each role has a distinct feature. During the long-term practice on stage, a number of renowned schools of opera represented by Shen Fengmei and Mao Ailian have formed gradually.
越调生动地反映了中原一带的社会生活，在社会史和艺术史研究方面都有重要价值。在计划经济向市场经济转变的进程中，越调举步维艰，每况愈下，过去那种“满城锣鼓万人迷，村村都有越调戏”的喜人景象早已风光不再。现在河南全省只剩下河南省越调剧团和许昌市越调剧团两个专业演出团体，资金缺乏，新剧目产生困难，艺术人才青黄不接。当务之急是加大政策扶植的力度，调动各种力量对之进行抢救和保护，首要任务则是对老艺人的绝活儿进行抢救性挖掘。
The Yue Tone vividly depicts the social life in the central plain and is of great value for studies in social history and artistic history. During the course of transition from planned economy to market economy, Yue Tone has been confronted with great difficulties and the situation is worsening. The heartening past scenes -“gong and drum beating fills the whole city with a million fans involved in the opera while each village is staging Yue Tone opera” are no longer seen. Now, in the whole province of Henan, there are only two troupes in operation: Henan Province Yue Tone Opera Troupe and Xuchang City Yue Tone Opera Troupe. Due to shortage of funds, new programs cannot be staged and there is a lack of personnel which threatens the inheritance of the opera. The urgent task at present is to render more support to them in terms of policy and mobilize all trades and profession to undertake the salvation and preservation and the top priority is to salvage the rare feats of senior artists.
相关传承人：
The folklore story-teller:
何全志 毛爱莲
He Quanzhi and Mao Ailian