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Current Location: Homepage » Chinese Culture » Chinese Opera 中国戏曲 » Main Body

Traditional Drama 传统戏剧 Wooden Clappers Opera: Dapingdiao 大平调

Time:2015-04-24Source:Internet
Profile:Wooden Clappers Opera: Dapingdiao 大平调
(单词翻译:双击或拖选)
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—26
Project No. IV-26
申报地区或单位:河南省濮阳县、滑县、延津县
Name of Applicant (region or institution): Puyang County, Hua County, and Yanjin County, Henan Province
大平调又称平调、大梆戏、大油梆,主要流行于豫北、冀南、鲁西南及豫东、皖北等地,它起源于明代中期,至今已有五百多年的历史。大平调的唱腔音乐属梆子腔系统,因比山东梆子、河南梆子、河北梆子的音调低,故称平调或大平调。它的音乐板式结构多与豫剧相同,艺术风格则比豫剧更加粗犷火爆。大平调在黄河以北的广大地区有着很大影响,逐渐形成三个支派,即东路平调、西路平调和河东平调。
Dapingtiao (Smooth Tone of the Senior), also known as Big Wooden Clappers Opera or Big Wooden Clappers of Oil Sellers, is mainly circulating in North Henan, South Hebei, Southwest Shandong and East Henan and North Anhui. Dating back to the middle of Ming Dynasty, it has a history of over 500 years. The style of Dapingdiao belongs to the family of Wooden Clappers and because the pitch is lower than those of Shandong Wooden Clappers, Henan Wooden Clappers, and Hebei Wooden Clappers, it is called Pingdiao (Smooth Tone) or Dapingdiao (Smooth Tone of the Senior). It has the same music structure of clappers as Yu Opera while the artistic style sounds more gruff and masculine. It has a wide influence over the vast area in the north of the Yellow River, falling into three branches over time: East Smooth Tone, West Smooth Tone, and East-of-River Smooth Tone.
大平调在长期发展过程中积累了丰富的剧目,据统计约有六百余出,现在保留下来的只有二百余出,其内容主要取材于《三国演义》、《水浒传》、《隋唐演义》、《杨家将》、《包公案》等小说,多以黑脸、红脸的“袍带戏”为主,民间生活故事戏较少,常演剧目有《下高平》、《下燕京》、《下江南》、《反阳河》、《晋阳关》、《反徐州》、《收姜维》、《百花亭》、《战洛阳》、《秦香莲》、《铡赵王》、《赵公明下山》、《金鞭记》、《张飞滚鼓》、《三传令》、《火龙阵》等。
Over the years, Dapingdiao has accrued in the number of programs. According to statistics, there were more than 600 programs, with only 200 or so preserved. Its main content is based on stories such as The Romance of Three Kingdoms, Outlaws of the Marsh, A Tale of Sui and Tang Dynasties, Women Knights from the Yang Family, and The Story of Impartial Baogong. The main programs are Black Face and Red Face “gown opera”, with few life stories of the grassroots. Regular performance includes Going Down Gaoping, Going Up Yanjing, Going Down South of the Changjiang River, Uprising of Yanghe, Jinyang Pass, Uprising of Xuzhou, The Capture of Jiangwei, Blossom Pavilion, The Fight of Luoyang, The Story of Qin Xianglian, Beheading the King of Zhao, The Coming of Zhao Gongming, The Story of Gold Whip, Drum Rolling of Zhang Fei, Thrice Reported Order, and Fire Dragon Formation.
大平调的唱腔与山东梆子大体相同,但是发声一般都用真嗓,惟慢板、拐头钉等板式起板时,尾声使用极高的假嗓。主要伴奏乐器有大弦、二弦、三弦、大梆、大号等。在大平调的脚色行当中,黑脸和红脸居于主要地位,形成剧种的重要特色。其表演气势恢弘,场面宏大,唱做念打并重,粗犷豪放,刚中带柔。
The tune of Dapingdiao is basically the same as that of Shandong Wooden Clappers, but the voice used is generally real, with exception of the use of high-pitched falsetto at the end of the tune when the presentation of Slow Clappers and U-turn Pin starts. The main instruments for accompaniment are Large String fiddle, two-string fiddle, three-string fiddle, Big Clappers, and Big Trumpet. Among the roles of Dapingdiao, Black Face and Red Face take a dominant position and form the feather of its own: an overwhelming, grand occasion, a gruff and resonant style with masculine and feminine properly mixed while chant, acting, recital and fighting equally valued.
大平调在河南地方音乐、戏曲历史等研究方面具有重要的学术价值,值得引起关注。20世纪90年代以后,随着戏剧市场的滑坡,大平调也受到了前所未有的冲击,观众群体日渐萎缩,剧团生存和演出条件恶劣,缺乏后继的表演人才,目前这一古老剧种正面临着失传的危险,亟待抢救。
Dapingdiao is of great academic value in studies of local music of Henan Province and history of traditional opera, so it is really noteworthy. Since the 1990’s, with the slump of the opera market, Dapingdiao has also suffered an unprecedented impact, with a daily shrinking audience, poor living and performing conditions, and lack of young people to inherit. At present, this time-honored opera is being endangered and is waiting for preservation and salvation.
相关传承人:
The folklore story-teller:
张相彬 魏守现 杜学周 曹秀芝 何西良
Zhang Xiangbin, Wei Shouxian, Du Xuezhou, Cao Xiuzhi, and He Xiliang
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