Traditional Drama 传统戏剧 Hebei Wooden Clappers 河北梆子

时间：2006年
Date: 2006
类别：传统戏剧
Category: Traditional Opera
地区：河北
Region: Hebei Province
编号：Ⅳ—22
Project No. IV-22
申报地区或单位：河北省
Name of Applicant (region or institution): Hebei Province
河北梆子是河北省最具代表性的地方声腔剧种，又名京梆子、直隶梆子、卫梆子、秦腔等。清代中叶，流入北京的秦腔、山西梆子与河北地区方言、民间音乐相结合，于道光年间正式形成。河北梆子鼎盛时期，曾流行于北至今蒙古人民共和国的乌兰巴托，南至广州，东至今俄罗斯的海参崴，西至新疆的广大区域，后影响范围缩小，目前主要流行于河北、北京、天津及山东、东北的部分地区。
Hebei Wooden Clappers is the most representative local tone opera of Hebei Province. It is also known as Peking Wooden Clappers, Zhili Wooden Clappers, Wei Wooden Clappers or Qinqiang Opera. In mid-Qing Dynasty, the Qinqiang Opera and Shanxi Wooden Clappers that had spread to Beijing mingled with dialect and folk music of Hebei and turned into what it is now during the reign of Emperor Daoguang. In its flourishing days, Hebei Wooden Clappers spread to as far as what is now Ulan Bator of Mongol in the north, Guangzhou in the south, Vladivostok of Russia in the east, and the vast areas of Xinjiang in the west. Later, its influence began to diminish. Today, it is mainly circulating in Hebei, Beijing, Tianjin and parts of Shandong and Northeast China.
河北梆子的传统剧目有五百多出，其中《宝莲灯》、《秦香莲》、《金水桥》、《杜十娘》、《蝴蝶杯》、《窦娥冤》、《教子》、《断桥》、《三上轿》、《喜荣归》、《打金枝》、《荀灌娘》、《南北合》、《苏武牧羊》等影响较大。河北梆子声腔属板式变化体，有慢板、二六、流水、尖板、哭板、反调及各种引腔和尾腔，主要伴奏乐器有板胡、笛、梆子、笙等。演唱时以梆子击节，音调于高亢激越之中时时透出委婉凄楚的旋律，擅长表现慷慨悲壮的情绪。其伴奏乐器有文、武场之分，文场乐器包括板胡、笛子、三弦、唢呐、海笛等，武场乐器包括鼓、板、大小锣等。河北梆子的脚色行当包括须生、小生、武生、青衣、花旦、老旦、大净、二净、文丑、武丑等，各行当皆有特定的唱腔风格，生腔苍劲悲壮，旦腔激越高昂，净腔粗犷豪放，丑腔风趣跃动。河北梆子的表演风格粗犷火爆，奔放开张，演员运用程式动作较夸张，还常常加进高难度的特技表演。
Hebei Wooden Clappers has a total of over 500 traditional programs with typical ones including Lotus Lantern, The Story of Qin Xianglian, Golden Bridge, Lady Dushiniang, Butterfly Cup, The Injustice of Dou E, Dressing Down the Son, Broken Bridge, Getting on the Sedan Thrice, Returning Home with Glory, Beating Golden Twig, Girl Hero Xun Guanniang, North-south Unification, and Su Wu the Shepherd. The tone of Hebei Wooden Clappers is a variation of the clappers, falling into slow clappers, two-six, water flow, pitch clappers, wailing clappers, reverse tone and various types of prelude tones and ending tones. The main instruments for accompaniment are Banhu fiddle, flute, wooden clappers and Sheng (windpipe). During performance, wooden clappers are used to make the beat and the tone is passionate and excited to suggest from time to time a saddening tune, suitable for characterizing the sad, heroic mood. The musical instruments are used for Quiet Setting and Dynamic Setting, the former including Banhu fiddle, flute, three-string fiddle, trumpet and sea flute and the latter drum, clappers and big and small gongs. The roles include old male, young male, martial male, female, young female, old female, painted face, secondary painted face, clown, martial clown, each possessing a tone or style that is either saddening (male), passionate (female), gruff (painted face) or humorous (clown). The performance of the wooden clappers is generally characterized by a gruff, excited and passionate quality and postures of performers are over-exaggerated with exceptional feats show adopted in-between from time to time.
独特的艺术对京剧、评剧和其他剧种产生了巨大影响，具有较高的戏剧文化价值。20世纪30年代后，河北梆子急剧衰落，濒临灭绝，直至建国后才重获新生。然而，80年代后期，在各种现代艺术形式的不断冲击下，河北梆子的生存再度出现危机，演出市场萎缩，人才流失严重，急需加以抢救、保护。
This unique art has exerted a great influence on Peking Opera, Comment Opera and others and is of a high value in drama culture. Since the 1930’s, Hebei Wooden Clappers has been in a sharp decline with a crisis of extinction. It only began to revive after the founding of the People’s Republic of China. Then, in late-1980’s, due to the impact of modern artistic performances, its survival was threatened again with a shrinking market and drainage of brain. Now, it is badly in need of salvation and preservation.