Traditional Drama 传统戏剧 Henan Opera 豫剧

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—23
Project No. IV-23
申报地区或单位：河南省
Name of Applicant (region or institution): Henan Province
豫剧也叫河南梆子、河南高调、河南讴，豫西山区则称之为靠山吼。它是我国梆子声腔剧种中极为重要的一支，深受广大人民群众的喜爱，主要流行于河南省，在全国各地都有流传。
Henan Opera is also called Henan Wooden Clappers, Henan High Tone, or Henan Ballad while in the mountainous areas of West Henan it is called Mountainside Cry. An important branch of clapper tones in China, it is very popular among the populace, circulating mainly in Henan Province while spreading to all parts of the country as well.
豫剧传承至今已有上百年的历史，早在清代乾隆年间，已成为河南很有影响的戏曲剧种。豫剧在生成和发展时期，汲取了昆腔、吹腔、皮簧及其他梆子声腔剧种的艺术因素，同时广泛吸收河南民间流行的音乐、曲艺说唱和俗曲小令，形成了朴直淳厚、丰富细腻、富于乡土气息的剧种特色。
Henan Opera now boasts a history of 100 years, ranking among the top ones in Henan dating back to the reign of Emperor Qianlong in Qing Dynasty. During the course of origination and evolution, it drew on the artistic elements of Kun Opera, blowing tone, Pihuang opera and other clapper tone operas. Meanwhile it also assimilated the popular folk song, opera chant and popular short tunes of Henan. Thus the qualities of straightforwardness, integrity and diversity plus local color of opera came into being.
豫剧拥有丰富的剧目资源，其中传统剧目近千出，历史上曾有“唐三千、宋八百，唱不完的三列国”之说，《斩子》、《牧羊卷》、《刘全进瓜》、《抱琵琶》、《铡郭槐》、《红下山》、《大祭桩》、《借妻》、《红娘》、《花木兰》、《穆桂英挂帅》、《对花枪》、《唐知县审诰命》等众多传统剧目长期以来在舞台上盛演不衰。
Henan Opera has a long list of programs, with the traditional ones totaling a thousand or so. In history, there was a saying like 3,000 of Tang Dynasty, 800 of Song Dynasty and the numerous of Three Kingdoms. The prevalent time-honored programs are The Execution of Son, The Shepherd Volume, Liu Quan Went to Send Melons, Holding Pipa Zither, The Beheading of Guo Huai, Descending the Mountain, Big Sacrifice Pile, Borrowing Wife, Match Maker, The Story of Huamulan, Mu Guiying Swears in as Commander, Spear Fighting, and County Head Hearing the Case of Dowager.
豫剧音乐中有四大板类，数十个唱腔板式，数十种调门唱法，其唱腔不仅有多种地方唱调，如豫东调、祥符调、豫西调、沙河调、高调等，还容纳了词格为十字句、七字句、五字句及曲词为长短句的多种曲牌，在表演和演唱方面形成了众多艺术流派。豫剧伴奏有文、武场之分，文场乐器主要包括板胡、二胡、三弦、月琴、皮嗡、笛子等，武场乐器则包括板鼓、梆子、大锣、小锣等。
The music of Henan Opera falls into four types of clappers, scores of tones and dozens of tunes. There are not only local tunes such as East Henan tune, Xiangfu tune, West Henan tune, Shahe tune, pitch tune etc. but also opera schemes like ten-character line, seven-character line, five-character line and long & short lines. And various schools of performance and chanting have formed over time. The accompaniment also comes in Quiet Setting and Dynamic Setting: the music instruments for the former include Banhu fiddle, Erhu, three-string fiddle, Moon Zither, Buzz Zither and flute while those for the latter clapper drum, wooden clappers, big gong and small gong.
“四生”、“四旦”、“四花脸”构成豫剧的脚色行当体制，“四生”为老生、大红脸、二红脸、小生；“四旦”为青衣、花旦、老旦、彩旦；“四花脸”为黑脸、大花脸、二花脸、三花脸。近现代以来，豫剧在发展过程中涌现出常香玉、王润枝、马双枝、陈素真、崔兰田、马金凤、阎立品等一批名家，以多样化的艺术风格将豫剧推向更高的境地。
The roles of Henan Opera comprise four males, four females and four painted faces. The four males are senior male, red face, secondary red face and young male; the four females are female, young female, senior female and female clown; and the four painted faces are black face, painted face, secondary painted face, and third painted face. In recent years, during the course of development, there appeared a great many distinguished performers such as Chang Xiangyu, Wang Runzhi, Ma Shuangzhi, Chen Suzhen, Cui Lantian, Ma Jinfeng, and Lan Lipin, all contributing to the high attainment of the opera in their respective ways.
豫剧艺术长期受中原文化特别是黄河流域地方文化的影响，它在演出剧目、舞台表演、人物塑造、表述方式、音乐唱腔等方面都形成了独特的河南地方风格，带有浓郁的地域文化色彩，成为我国民族戏曲宝库中的珍贵财富。由于时代的飞速发展，社会意识形态和审美风尚发生了巨大变化，豫剧的生存开始出现危机。观众数量急遽缩减，表演人才缺乏，许多传统剧目特别是具有代表性的地域流派剧目已经几近失传，这种状况急需改变，豫剧的抢救、保护工作应尽早落实。
The art of Henan Opera has been under the influence of culture of the central plain, esp. the Yellow River Drainage, developing into a unique local style of Henan concerning programs, stage performance, characters creation, expression and narration, and music and tones. With a distinct local flavor, it has become an invaluable asset of China’s folk opera treasure house. Due to the speed development of the times, social awareness and aesthetic values all have undergone enormous changes and Henan Opera is facing a crisis of survival now. It is losing audience and there is a lack of people with talent. Many of the traditional programs, local schools of opera in particular, have almost disappeared. This situation needs to be quickly changed and the salvation and preservation of Henan Opera shall be carried out as soon.