类别：传统戏剧
Category: Traditional Opera
地区：陕西
Region: Shaanxi Province
编号：Ⅳ—31
Project No. IV-31
申报地区或单位：陕西省安康市
Name of Applicant (region or institution): Ankang City, Shaanxi Province
汉调二簧又称陕二簧、山二簧，是陕西第二大剧种，流行于陕西的安康、汉中、商雒、西安及四川、甘肃、湖北的部分地区。它源自陕南汉江流域的山歌、牧歌、民歌，清代初叶受秦腔影响，并吸收昆曲、吹腔、高拨子等曲调，糅合当地方言，形成了独立的声腔剧种，原来用双笛伴奏，笛以竹作“簧”，故称“二簧”。为与“京二簧”区别，又称“土二簧”。汉调二簧传统剧目丰富，仅安康一地就有一千二百多种，已挖掘整理出本戏420个，折子戏517个。这些剧目的题材多取自《东周列国志》、《三国演义》、《封神演义》及其他历史故事和民间传说，其中的代表性剧目有《文姬辨琴》、《胡笳十八拍》、《战蚩尤》、《尝百草》、《黄天荡》、《清风亭》、《二度梅》、《打龙棚》、《梁红玉》等。
Erhuang Opera of the Han Tone, also known as Shaanxi Erhuang or Shan Erhuang, is the second major opera of Shaanxi, circulating in Ankang, Hanzhong, Shangluo and Xi’an of Shaanxi Province and some parts of Sichuan, Gansu and Hubei provinces. Originating from the mountain songs, grazing songs, and folk songs in the drainage of Han River in South Shaanxi, it was receiving influences from Qin Opera early in the Qing Dynasty and later drew on the tunes of Kun Opera, Blowing Tone and Gaobozi Tone as well as the dialect before taking shape as an independent type of tone and opera. Originally, it took double flutes as accompaniment and as the reed (huang) of flute was made of bamboo, it was then called Erhuang (two reeds). To allow it to distinguish from the Peking Erhuang, it was called Local Erhuang. There are a lot of programs of Erhuang of the Han Tone. In Ankang City alone, there are over 1,200 with 420 uncovered and recorded as volume opera and 517 as booklet opera. These programs were mainly adapted from The Record of Kingdoms in East Zhou Dynasty, The Romance of Three Kingdoms and Investiture of the Gods and other historical stories and folktales. The typical programs are Wenji Telling Apart the Zithers, Eighteen Beats of Hujia Reed Pipe, Fighting the Chiyou Tribe, Testing Hundred Plants, The War of Huangtiandang, Qingfeng Pavilion, The Plum Reblossom, The Raid of Royal Parlor and Lady General Liang Hongyu.
汉调二簧在发展中曾形成安康、汉中、商雒、关中等流派，名角层出不穷。其脚色共分末、净、生、旦、丑、外、小、贴、夫、杂十个行当，表演讲究细腻精到，唱腔真假嗓并用，悠扬婉转。生、老旦一般用真声演唱，旦用假声演唱，净则使用虎音。其唱腔以西皮、二簧为主，西皮用于表现愉快、爽朗的情绪和场面，二簧用于表现悲哀、肃穆的情绪和场面，演唱中根据剧情需要交替使用，形成甜音、苦音之分。伴奏乐队的文场使用胡琴、二胡、月琴、三弦、阮、唢呐、笛子、喇叭等乐器，武场则使用牙板、梆子、暴鼓、尖鼓、锣、铙钹等。汉调二簧的脸谱样式众多，比京剧和秦腔更为考究，目前收集到的有四百五十多个。
During the course of development, Erhuang of the Han Tone branched into different schools including Ankang, Hanzhong, Shangluo and Guanzhong, with distinguished performers appearing one and after. The roles fall into 10 sorts: mid-aged male, painted face, male, female, clown, outside, the young, secondary female, man and minor roles. The performance is focused on quality and details, with both real and false voices used to produce a prolonged, smooth tone. For the roles of male and old female, real voice is generally used while for the role of female, falsetto is used and for painted face, roaring voice. The tones used are basically Xipi and Erhuang: the former is employed to express the pleasant mood and scenes while the latter sad and grave mood and scenes, producing a happy or saddening tone alternately subject to the plot of performance. The Quiet Setting of accompaniment involves musical instruments of Hu Zither, Erhu, Moon Zither, Three-string, Yuan (stringed instrument), trumpet, flute and horn while the Dynamic Setting concerns those of Teeth Clappers, Wooden Clappers, Bang Drum, Pitch Drum, gong and cymbals. The facial patterns of Erhuang of the Han Tone are many and even outdo those of Peking Opera and Qinqiang Opera, with over 450 already collected now.
经研究认定，汉调二簧形成较早，各地其他皮簧声腔剧种都与之存在渊源关系，它对川剧、徽剧、京剧等的形成和发展有着不可忽略的影响。近年来，汉调二簧观众锐减，经济上出现困难，不断走向衰落，专业剧团纷纷解散，目前仅剩下安康汉滨区一个剧团还在维持演出，而且这个惟一的剧团也正濒临解散的危机。在此情势下，有必要大声呼吁，应该尽快对这一古老剧种进行抢救和保护。
According to findings of research, it is believed Erhuang took shape time long ago while having to do with other Pihuang operas and tones. It has exerted a great influence on the origination and development of Sichuan Opera, Anhui Opera and Peking Opera. Over the years, it has had a sharply shrinking audience and run into financial problems and some troupes are declining and dismissed. Now, there is only one troupe in Hanbin District of Ankang City that manages to continue its operation and it is also facing the crisis of being dismissed. Given this fact, it is necessary to issue an urgent call for initiating preservation and salvation actions for this time-honored opera.
Category: Traditional Opera
地区：陕西
Region: Shaanxi Province
编号：Ⅳ—31
Project No. IV-31
申报地区或单位：陕西省安康市
Name of Applicant (region or institution): Ankang City, Shaanxi Province
汉调二簧又称陕二簧、山二簧，是陕西第二大剧种，流行于陕西的安康、汉中、商雒、西安及四川、甘肃、湖北的部分地区。它源自陕南汉江流域的山歌、牧歌、民歌，清代初叶受秦腔影响，并吸收昆曲、吹腔、高拨子等曲调，糅合当地方言，形成了独立的声腔剧种，原来用双笛伴奏，笛以竹作“簧”，故称“二簧”。为与“京二簧”区别，又称“土二簧”。汉调二簧传统剧目丰富，仅安康一地就有一千二百多种，已挖掘整理出本戏420个，折子戏517个。这些剧目的题材多取自《东周列国志》、《三国演义》、《封神演义》及其他历史故事和民间传说，其中的代表性剧目有《文姬辨琴》、《胡笳十八拍》、《战蚩尤》、《尝百草》、《黄天荡》、《清风亭》、《二度梅》、《打龙棚》、《梁红玉》等。
Erhuang Opera of the Han Tone, also known as Shaanxi Erhuang or Shan Erhuang, is the second major opera of Shaanxi, circulating in Ankang, Hanzhong, Shangluo and Xi’an of Shaanxi Province and some parts of Sichuan, Gansu and Hubei provinces. Originating from the mountain songs, grazing songs, and folk songs in the drainage of Han River in South Shaanxi, it was receiving influences from Qin Opera early in the Qing Dynasty and later drew on the tunes of Kun Opera, Blowing Tone and Gaobozi Tone as well as the dialect before taking shape as an independent type of tone and opera. Originally, it took double flutes as accompaniment and as the reed (huang) of flute was made of bamboo, it was then called Erhuang (two reeds). To allow it to distinguish from the Peking Erhuang, it was called Local Erhuang. There are a lot of programs of Erhuang of the Han Tone. In Ankang City alone, there are over 1,200 with 420 uncovered and recorded as volume opera and 517 as booklet opera. These programs were mainly adapted from The Record of Kingdoms in East Zhou Dynasty, The Romance of Three Kingdoms and Investiture of the Gods and other historical stories and folktales. The typical programs are Wenji Telling Apart the Zithers, Eighteen Beats of Hujia Reed Pipe, Fighting the Chiyou Tribe, Testing Hundred Plants, The War of Huangtiandang, Qingfeng Pavilion, The Plum Reblossom, The Raid of Royal Parlor and Lady General Liang Hongyu.
汉调二簧在发展中曾形成安康、汉中、商雒、关中等流派，名角层出不穷。其脚色共分末、净、生、旦、丑、外、小、贴、夫、杂十个行当，表演讲究细腻精到，唱腔真假嗓并用，悠扬婉转。生、老旦一般用真声演唱，旦用假声演唱，净则使用虎音。其唱腔以西皮、二簧为主，西皮用于表现愉快、爽朗的情绪和场面，二簧用于表现悲哀、肃穆的情绪和场面，演唱中根据剧情需要交替使用，形成甜音、苦音之分。伴奏乐队的文场使用胡琴、二胡、月琴、三弦、阮、唢呐、笛子、喇叭等乐器，武场则使用牙板、梆子、暴鼓、尖鼓、锣、铙钹等。汉调二簧的脸谱样式众多，比京剧和秦腔更为考究，目前收集到的有四百五十多个。
During the course of development, Erhuang of the Han Tone branched into different schools including Ankang, Hanzhong, Shangluo and Guanzhong, with distinguished performers appearing one and after. The roles fall into 10 sorts: mid-aged male, painted face, male, female, clown, outside, the young, secondary female, man and minor roles. The performance is focused on quality and details, with both real and false voices used to produce a prolonged, smooth tone. For the roles of male and old female, real voice is generally used while for the role of female, falsetto is used and for painted face, roaring voice. The tones used are basically Xipi and Erhuang: the former is employed to express the pleasant mood and scenes while the latter sad and grave mood and scenes, producing a happy or saddening tone alternately subject to the plot of performance. The Quiet Setting of accompaniment involves musical instruments of Hu Zither, Erhu, Moon Zither, Three-string, Yuan (stringed instrument), trumpet, flute and horn while the Dynamic Setting concerns those of Teeth Clappers, Wooden Clappers, Bang Drum, Pitch Drum, gong and cymbals. The facial patterns of Erhuang of the Han Tone are many and even outdo those of Peking Opera and Qinqiang Opera, with over 450 already collected now.
经研究认定，汉调二簧形成较早，各地其他皮簧声腔剧种都与之存在渊源关系，它对川剧、徽剧、京剧等的形成和发展有着不可忽略的影响。近年来，汉调二簧观众锐减，经济上出现困难，不断走向衰落，专业剧团纷纷解散，目前仅剩下安康汉滨区一个剧团还在维持演出，而且这个惟一的剧团也正濒临解散的危机。在此情势下，有必要大声呼吁，应该尽快对这一古老剧种进行抢救和保护。
According to findings of research, it is believed Erhuang took shape time long ago while having to do with other Pihuang operas and tones. It has exerted a great influence on the origination and development of Sichuan Opera, Anhui Opera and Peking Opera. Over the years, it has had a sharply shrinking audience and run into financial problems and some troupes are declining and dismissed. Now, there is only one troupe in Hanbin District of Ankang City that manages to continue its operation and it is also facing the crisis of being dismissed. Given this fact, it is necessary to issue an urgent call for initiating preservation and salvation actions for this time-honored opera.
