Jingdong Dagu (‘Big Drum’ Recitative) 京东大鼓

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, story-telling
地区：天津
Region: Tianjin City
编号：Ⅴ—10
Ref. No.: V-10
申报地区或单位：天津市宝坻区
Nominating unit[s]: Baodi District, Tianjin City
京东大鼓是一种采用京东方音说唱表演的曲艺鼓书暨鼓曲形式。表演形式为一人击鼓站唱，另有人分持三弦、扬琴等乐器伴奏。约形成于清代中叶，在不同时期和不同地方有过不同的称谓，如京东怯大鼓、乐亭调、平谷调大鼓、平谷调、乐亭调大鼓、四平调大鼓、乐亭大鼓（与形成并流行于河北乐亭县的乐亭大鼓名同实异）、铁片大鼓、铁板大鼓、承德地方大鼓等。京东大鼓源于京东河北的三河、香河与天津的宝坻地区，流行于河北廊坊、承德、保定、唐山、北京怀柔和天津宝坻一带。它20世纪初流入天津时在小型曲艺演出场所演出，主要说唱长篇大书。30年代初天津宝坻人刘文斌在天津商业电台播演《刘公案》，极受广大群众喜欢，京东大鼓的影响由此日趋扩大，后逐渐传到北京、唐山等地。
Jingdong dagu is an art form of drum music and recitative, performed in the East Beijing dialect. It is performed by a band consisting of one singer who beats the drum and sings while standing and accompanists like Sanxian (a three-stringed plucked instrument) player, Chinese dulcimer player and other instrument players. Born in the mid-Qing Dynasty, Jingdong dagu has different names in different ages and regions in history, such as Jingdongqie dagu, Letingdiao Recitative, Pinggudiao dagu, Pinggu Recitative, Letingdiao dagu, Sipingdiao dagu, Leting dagu (which is different from Leting dagu came from and was popular in Leting County of Hebei province), Tiepian dagu, Tieban dagu, Chengde local dagu and so on. Jingdong dagu, originated in Sanhe City and Xianghe County of Hebei Province (to the east of Beijing), and Baodi District of Tianjin City, is popular in Langfang City, Chengde City, Baoding City, Tangshan City, Huai’rou District of Beijing Municipality and Baodi area of Tianjin Municipality. It was performed in small artistic performance venues after it was introduced into Tianjin at the beginning of the twentieth century, focusing on narrating and singing long stories. In the early 1930s, Liu Wenbin, a native of Baodi District of Tianjin, performed the Case of Liu Yong (or Liu Gong An) via Tianjin Commercial Radio, making it very popular among the general public. From then on, Jingdong dagu’s influence was gradually extended, and spread into such regions as Beijing and Tangshan City.
1949年以前，京东大鼓的著名艺人很多，有邓殿奎、于七、王宪章、刘俊海、傅士亭、张士诚、石金荣、王佩臣、魏西庚、刘文斌、齐文周等。传统曲目和书目非常丰富，包括短篇鼓曲《王婆骂鸡》、《耗子告猫》、《杨八姐游春》、《湘子上寿》、《鞭打芦花》、《小姑贤》，中篇鼓书《响马传》、《包公出世》、《王定保借当》、《葛红霞扫北》、《刘公案》，长篇鼓书《大八义》、《小八义》、《杨家将》、《呼家将》、《双合记》、《反唐》等。1933年，香河艺人于景元在天津仁昌电台演播《石兰传》时，称之为“京东大鼓”，“京东大鼓”之名就此通行起来。
Before 1949, there were many famous artists of Jingdong dagu, such as Deng Diankui, Yu Qi, Wang Xianzhang, Liu Junhai, Fu Shiting, Zhang Shicheng, Shi Jinrong，Wang Peichen, Wei Xigeng, Liu Wenbin, Qi Wenzhou, etc. There are abundant traditional repertoires and works, including short-length arias like Mrs. Wang Cursing The Thieves Who Stole Her Chicken (or Wang Po Ma Ji), A Mouse Suing A Cat (or Hao Zi Gao Mao), The Eighth Sister Yang’s Spring outing (or Yang Ba Jie You Chun), Han Xiang presenting Birthday gift (or Xiang Zi Shang Shou), Whipping the Reed (or Bian Da Lu Hua), Sister-in-Law (or Xiao Gu Xian); medium-length arias: Legend of The Horse Gang(or Xiang Ma Zhuan), Biography of Baozhen g(or Bao Gong Chu Shi), Wang Dingbao Pawning the Dowry of His Fiancée(or Wang Ding Bao Jie Dang)，Ge Hong Xia Conquers the North (or Ge Hong Xia Sao Bei), Case of Liu Yong (or Liu Gong An); and long-length arias like The Great Eight Sworn Brothers (or Da Ba Yi), The Eight Sworn Brothers (or Xiao Ba Yi), Yang Warriors in the Northern Song Dynasty (or Yang Jia Jiang), Hu Warriors During the Reign of Emperor Renzong of the Northern Song Dynasty(or Hu Jia Jiang), The Legend of Double Combinations (or Shuang He Ji), Rebelling against Empress Wu Zetian (or Fan Tang). In 1933, when Yu Jingyuan, an artist from Xiang He County, was performing Biography of Shilan (or Shi Lan Zhuan) via Renchang Radio of Tianjin, he called his performance as “Jingdong dagu”, thus the name of “Jingdong dagu” became publicly recognized.
1949年以后，京东大鼓的演出以天津宝坻的业余演员董湘昆最为著名。他在保留传统唱腔的基础上，将原来的使用京东各地方音表演改为采用普通话说唱，并进一步加工和规范唱腔，不断创作出适应时代发展的新曲目，深得广大观众的喜爱。在董湘昆等人的不懈努力下，20世纪六七十年代京东大鼓的发展走向高峰，其曲种的影响也遍及北方各地。
After 1949, the most famous artist of Jingdong dagu is Dong Xiangkun, an amateur actor from Baodi District of Tianjin. He narrated and sang Jingdong dagu in mandarin instead of the East Beijing dialect yet on the basis of retaining its traditional singing style. Furthermore, he improved and standardized its singing style and continuously created works to adapt to the development of time, which gained the favor of the masses deeply. Because of Dong Xiangkun and others’ unremitting efforts, the development of Jingdong dagu moved toward the peak and its influence spread out various areas in the north during 1960s and 1970s.
进入21世纪以来，由于传人减少，演出不多，京东大鼓的发展出现了空前危机，急需扶持和保护。
Since the 21st century, such performances have been hardly available as a result of the shortage of successors. The development of Jingdong dagu is confronted with an unprecedented crisis. Thus, it needs to be protected and preserved without delay.
相关传承人：
Inheritor(s):
董湘昆
Dong Xiangkun