Traditional Drama 传统戏剧 Anhui Opera 徽剧

时间：2006年
Date: 2006
类别：传统戏剧
Category: Traditional Opera
地区：安徽，江西
Region: Anhui Province and Jiangxi Province
编号：Ⅳ—29
Project No. IV-29
申报地区或单位：安徽省江西省婺源县
Name of Applicant (region or institution): Anhui Province, Wuyuan County, Jiangxi Province
徽剧是一种重要的地方戏曲声腔，主要流行于安徽省境内和江西省婺源县一带。明末清初，乱弹声腔传入安徽，与地方声腔及民间音乐结合，在安庆府的石牌、枞阳、桐城等地形成拨子。乾隆年间，拨子与四平腔脱胎而来的吹腔逐渐融合，形成二簧腔。二簧腔又与湖北西皮形成皮簧合奏，奠定了徽剧的基础。
Anhui Opera is an important tune of local opera, mainly prevalent within Anhui Province and the area of Wuyuan County, Jiangxi Province. At the turn of Ming and Qing Dynasties, the varied tune spread to Anhui and merged with local tune and folk music, forming the Bozi Tone in Shipai, Zongyang and Tongcheng of the then Anqing Prefecture. During the reign of Qianlong, the Bozi Tone gradually mixed with the Blowing Tone derived from the Siping tone, forming the Erhuang Tone. Then the Erhuang Tone merged with Xipi Tone of Hubei, forming Pihuang Complex, laying a foundation for Anhui Opera.
徽剧的音乐唱腔可分徽昆、吹腔、拨子、二簧、西皮、花腔小调等类。徽昆以演武戏为主，多用唢呐、锣鼓，气势宏大；吹腔兼有曲牌体和板腔体形式，以笛和小唢呐为主奏乐器；拨子用枣木梆击节，以唢呐、笛、徽胡伴奏；二簧以徽胡为主奏乐器，有导板、原板、回龙、流水等板式；西皮则有文武导板、散板、摇板、二六等板式，同样用徽胡为主奏乐器；花腔小调多为民间俗曲，生活气息浓郁。徽剧脚色行当包括末、生、小生、外、旦、贴、净、丑等类，表演火爆热烈，气势豪壮，动作粗犷，特别擅长武戏，有翻台子、跳圈、窜火、飞叉、滚灯、变脸等特技。
The tone of Anhui Opera falls into Huikun, Blowing Tone, Bozi Tone, Erhuang, Xipi, and Varied Tone. The Huikun Tone is mainly about martial performance, using trumpet and drum and gong to set up an overwhelming atmosphere; the Blowing Tone uses date-tree wooden clappers for making the beat with accompaniment of trumpet, flute and Huihu fiddle; erhuang takes Huihu fiddle as the major musical instrument, with clapper patterns of Daoban (conducting clappers), Yuanban (original clappers), Huilong (repetition) and Liushui (flowing); Xipi has Quiet Setting and Dynamic Setting of Daoban (conducting clappers), Sanban (mincing clappers), Yaoban (rolling clappers), and Erliu (two-six clappers), also with Huihu fiddle as the main music instrument; Huaqiang is basically comprised of folk tunes, presenting odds and ends of everyday life. The roles of Anhui Opera include Mo (middle-aged male), Sheng (male), Xiaosheng (young male), Wai (secondary role), Dan (female), Tie (secondary female), Jing (painted face) and Chou (clown). The performance is very hot and exciting with gruff actions in a masculine manner, in particular the part of martial arts which includes the stunning performance of somersault, ring jump, flame ring, flying fork, rolling lamp, and face changing.
徽剧传统剧目丰富，其中徽昆剧目以武戏为主，有《七擒孟获》、《八阵图》、《八达岭》、《英雄义》、《倒铜旗》、《白鹿血》等；昆弋腔剧目有《昭君出塞》、《贵妃醉酒》、《芦花絮》等；吹腔、拨子剧目有《千里驹》、《双合印》、《凤凰山》、《淤泥河》等；西皮剧目有《战樊城》、《让成都》等；皮簧剧目有《龙虎斗》、《反昭关》、《宇宙锋》、《花田错》等；花腔小戏有《李大打更》、《探亲相骂》等。
Anhui Opera has a full array of regular programs. In detail, Huikun Opera is basically focused on aspect of martial arts, including Capturing Meng Huo the Seventh Time, Diagram of Eight-formation, The Story of Badaling, Justice of Heroes, Falling Copper Flag, and White Deer Blood; Kunyi Tone includes Zhaojun outside the Frontier, The Drunken Concubine, and Catkin of Reed; Blowing Tone and Bozi Tone include Fine Steed, The Meshing of Seal, Phoenix Mountain, and Silt River; Xipi Tone includes The Fight of Fancheng and Abandoning Chengdu; Pihuang Tone includes Dragon-tiger Fight, Uprising of Shaoguan, Universal Peak, and Misunderstanding at Garden; and Varied Tone includes Lida Sounding the Watches and Verbal Attack during Visiting Relatives.
徽剧迄今已有三百多年历史，在中国戏曲发展史上曾起过重要作用，它不仅孕育了京剧，而且中国南北几十个地方戏曲剧种都同它有着密不可分的血缘关系。同时，徽剧还是徽州文化的一个重要组成部分，它以直观的方式反映了徽州文化乃至中国传统文化的许多特点，值得深入研究。但目前徽剧面临着“断种”的危险，演员老化，传承乏人，经费紧张，从业人员越来越少，现在必须加紧从保护老艺人入手，进行徽剧的抢救、挖掘、整理工作，否则将会错失良机，造成巨大的遗憾。
Today, Anhui Opera has already existed for over 300 years and played a significant role in the development course of Chinese traditional operas. It has not only nurtured the growth of Peking Opera, but related closely to scores of local opera branches in both south and north of China. Meanwhile, Anhui Opera is an important part of Huizhou culture, reflecting vividly the characteristics of Huizhou culture and even those of Chinese traditional culture, which is worth further studies. However, at present, Anhui Opera is facing a crisis of extinction. The performers are getting on years while there is lack of people to inherit besides shortage of funds. There are fewer and fewer performers of Anhui Opera now, so the salvation, exploration and preservation have to be started now by protecting the senior artists first. Otherwise, the good opportunities could be missed and people will be left regretting over it in the future.