Traditional Drama 传统戏剧 Traditional Opera: Shangdang Wooden Clappers 上党梆子

时间：2006年
Date: 2006
类别：传统戏剧
Category: Traditional Opera
地区：山西
Region: Shanxi Province
编号：Ⅳ—21
Project No. IV-21
申报地区或单位：山西省晋城市
Name of Applicant (region or institution): Jincheng City, Shanxi Province
上党梆子是山西省四大梆子之一，流行于山西东南部。它在道光年间称为本地土戏，1934年赴省城太原演出时称作上党宫调，1954年定名为上党梆子。上党梆子以演唱梆子腔为主，兼唱昆曲、皮黄、罗罗腔、卷戏，俗称“昆梆罗卷黄”。它在清代乾隆中后期已经盛行，嘉庆、道光年间班社林立，名伶辈出，剧目竞现，流派纷呈，进入蓬勃发展时期。
Shangdang Bangzi, or Wooden Clappers, is one of the four Bangzi performing arts of Shanxi Province, circulating in the southeast of Shanxi Province. It was called local crude opera during the reign of Emperor Dao Guang, Shangdang Palace Tune during the performance in the provincial capital Taiyuan in 1934, and finally Shangdang Bangzi in 1954. The performance of Shangdang Wooden Clappers features the tune of Bangzi, complemented by Kun Opera, Pihuang, Luoluo Tune, and Scroll Opera, which together are called Wooden Clappers Complex. It became prevalent towards the latter half of the reign of Qianlong of the Qing Dynasty. And during the reign of Jiaqing and the reign of Daoguang, performing troupes sprang up, top actors appeared, program lists multiplied, and schools and styles contended, presenting a superb scene of thriving.
据统计，上党梆子的传统剧目有七百多个，其中梆子戏近六百个，皮黄戏九十多个，昆曲十多个，罗罗腔戏和卷戏各数个，代表性剧目有《三关排宴》、《天波楼》、《雁门关》、《闯幽州》、《董家岭》、《巧缘案》、《夺秋魁》、《甘泉宫》、《东门会》、《徐公案》等，其中一些剧目完全为上党梆子所独有。清咸丰年间到抗战前，上党梆子进入鼎盛时期，有班社两百多个，形成了特色鲜明的“州府派”和“潞府派”两大艺术流派，涌现出赵清海、郎不香、申灰驴等诸多名家。上党梆子的唱腔曲牌体与板腔体兼具而以板腔体为主，其板式分大板、中四六、四六、大板、垛板、散板、滚腔等，以四六和大板使用最多也最具特色。演唱时男女同腔同调，男腔使用假声。伴奏乐器主要为巨琴、二把、呼胡“三大件”。
According to statistics, the traditional programs of Shangdang Wooden Clappers are about 700, of which Bangzi Opera totals approximately 600, Pihuang Opera 90, Kun Opera 10, and Luoluo Tune and Scroll Opera a dozen. Typical programs are The Peace Negotiation of Sanguan, Tianbo Tower, Yanmen Pass, Youzhou Fight, Dongjialing Village, the Case of Good Luck, Seizure of Qiukui, Palace of Refreshing Spring, Rendezvous of East Gate, and the Case of Master Xu, some of which are really unique of Shangdang Wooden Clappers. From the reign of Xianfeng of Qing Dynasty to the beginning of the Anti-Japanese Aggression War, the Wooden Clappers is in the peak of its boom: there were about 200 opera troupes, falling into two major schools of distinct styles –Zhoufu School and Lufu School while distinguished arts like Zhao Qinghai, Lang Buxiang, and Shen Huilv appeared. The Wooden Clappers is a combination of both Tune Style and Clapper Style with the latter as its main style. The playing of clappers comprises big clappers, middle four and six, four and six, chopping clappers, odd clappers, and rolling tone, with four and six and big clappers mostly used and most typical. During performance, male and female roles sing in the same tune and style while the former is using falsetto. The instruments for accompaniment are basically “three major ones” -Giant Zither, Erba and Huhu Fiddle.
上党梆子的脚色行当主要有生、旦、净、丑四种，各行当的基本表演程式名为“三把”，运用时演员挺胸昂头，稳健有力。其表演风格粗线条、大轮廓，直出直入，简练明快，后在发展过程中逐渐受到京剧影响，有所变化。上党梆子的舞台装置有“设大朝”的讲究，脸谱图案也十分独特。旦角还有一种名为“破面”的化装，带有元杂剧的遗风，即用白粉在剧中品行不端者右眼睑上横划一笔，或在角色右颧骨处画上一朵小小的兰花或菊花。
The roles of Shandang Wooden Clappers fall into Sheng (male), Dan (female), Jing (a painted face), and Chou (clown). The basic acting procedure of each role is called “three controls” and the performers stand straight up and appear to be very strong according to this guiding idea. The performing style can be characterized as roughly-presented, straightforward, clear-cut, and quick-done but the style also changes over time due to the influence of Peking Opera. The setting-up of stage is usually accomplished in a “displaying great court” style and the design of painted face is unique, too. For the female roles, there is also one kind of make-up called “identified complexion”, a style somewhat inherited from the Yuan mosaic opera, i.e. adding a horizontal stroke on the right eyelid of the one with misconduct in while powder or painting a little orchid or chrysanthemum on the right cheek of the role player.
上党梆子包含有多种声腔，从中可考察戏曲声腔历史流变的现象。目前由于受到现代文化和经济大潮的冲击，上党梆子观众大量流失，演出水准逐渐下降，不少剧团被迫解散，后继人才匮乏，剧团前景堪忧，迫切需要采取措施，予以支持和保护。
Shangdang Wooden Clappers is of various tunes and from this the history of change of traditional opera can be researched. At present, due to impact of modern culture and economic surge, it is losing audience dramatically and the performance is somewhat downgrading, too. A number of troupes have been dismissed in such situations and there is lack of young people to pass it down. All these considered, the opera troupe is facing a miserable future. Urgent measures for support and preservation are being called for.