Traditional Drama 传统戏剧 Qinqiang Opera 秦腔

时间：2006年
Date: 2006
类别：传统戏剧
Category: Traditional Opera
地区：陕西
Region: Shaanxi Province
编号：Ⅳ—16
Project No.IV-16
申报地区或单位：陕西省
Name of Applicant (region or institution): Shaanxi Province
秦腔是元明之际流传于关中一带的劝善调及当地民间音乐与关中方言结合形成的一个戏曲声腔剧种，主要流行于陕西、甘肃、宁夏、青海、新疆等西北部地区。明清之际，秦腔由陕西商人传入中原及华东、华中、华南一带，在清初成为全国有重大影响的戏曲剧种。
Qinqiang Opera is formed when the kindness urging tunes circulating in Guanzhong at the turn of Yuan and Ming dynasties intermingled with the local folk music and dialect. It is a tone opera prevalent in the northwestern areas of Shaanxi, Gansu, Ningxia, Qinghai and Xinjiang. At the turn of Ming and Qing dynasties, Qinqiang Opera was brought to the central plain and East China, Central China and South China from Shaanxi by merchants, causing it to become a major opera nationwide.
现已发现的秦腔传统剧目有三千多种，多取材于历史故事及各种神话和民间传说，其中包括《春秋笔》、《和氏璧》、《玉虎坠》、《紫霞宫》、《麟骨床》、《长坂坡》、《卖华山》、《临潼山》、《斩单通》、《取洛阳》、《三娘教子》、《柜中缘》、《反延安》、《破洪州》、《三上殿》、《献西川》等代表性剧目。
The traditional programs uncovered are about 3,000 in total, all adapted from historical stories, myths and folklores. The typical ones are The Spring and Autumn Record, The Invaluable Jade, Jade Tiger Pedant, Purple Cloud Palace, The Unicorn Bone Bed, Changban Slope, Selling Huashan Mountain, Coming to Tongshan Mountain, Beheading Shan Tong, The Seizure of Luoyang, Teaching the Son a Lesson, Luck in Wardrobe, The Rebellion of Yan’an, The Raid of Hongzhou, Going to the Court Thrice, and Giving up Xichuan.
秦腔音乐分欢音和苦音两种，前者主要表现欢快喜悦的情绪，后者主要表现悲愤凄凉的情绪。秦腔演唱时有慢板、二六板、代板、起板、尖板、滚板等板式变化形式，伴奏乐队分为文场和武场，文场以板胡为主，辅以笛、三弦、月琴、唢呐等；武场基本使用打击乐器，包括指板、干鼓、暴鼓、战鼓、钩锣、手锣、水水等。
Qinqiang Opera falls into joyous tone and sad tone for characterizing pleasant mood and melancholy mood respectively. During the course of performance, there are changes of clappers like slow clappers, two-six clappers, substitute clappers, starting clappers, pitch clappers and roll clappers. And there are Quiet Setting and Dynamic Setting for the musical band: the former is mainly accomplished through Banhu fiddle with the aid of flue, three-string fiddle, moon zither and trumpet while the latter basically employs beating instruments like finger clappers, plain drum, rough drum, war drum, hook gong, hand gong and Shuishui zither.
秦腔的角色行当传统上分为四生、六旦、二净、一丑，各有自己完整的唱腔和表演程序。秦腔的生、净行唱腔高亢激越、慷慨悲凉、雄迈豪放；旦角唱腔委婉细腻、婉转流变、细腻典雅。秦腔演员还极重工架和特技，在长期的舞台实践中形成了趟马、拉架子、担柴、喷火、梢子功、扑跌等富有特点的表演模式。此外，秦腔的脸谱也别具特色。
The roles of Qinqiang Opera are traditionally made up of four males, six females, two painted faces and one clown, each having a complete tone and procedure of performance. The tones of male and painted face are passionate, saddening and heroic while the tone of female is sweet, smooth and elegant. The performers are also good at postures and feat shows and the special stage presentation includes horse riding, prop pulling, firewood carrying, fire blowing, boatman show and capture and fall feat. Besides, the facial patterns are also noteworthy.
秦腔是西北黄土高原人民共同拥有的精神财富，也是三秦文化的典型代表样式，有着广泛的群众基础。它在历史上曾流传至中原和沿海一带，影响和孕育了数十个地方剧种。20世纪80年代以后，秦腔和其他戏曲剧种一样受到现代文化的巨大冲击，专业演出团体生存艰难，优秀演艺人才缺乏，传统表演技艺正面临失传的危险，急需采取切实的保护措施。
Qinqiang Opera is the spiritual wealth of people of the northwest Loess Plateau and also the typical of the three Qin cultures, which is popular among the masses. In the past, it spread to the central plain and the coastal areas, contributing to the growth of scores of local operas. Since the 1980’s, just like other operas, Qinqiang Opera has been suffering from the great impact of modern culture. The troupes can hardly survive with lack of top talents. This traditional performing art is facing extinction and is therefore awaiting practical and feasible measures for preservation.