Fuzhou cheyi 福州伬艺

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, Story-telling
地区：福建
Region: Fujian Province
编号：V —15
Ref. No.: V-15
申报地区或单位：福建省福州市
Nominating unit[s]: Fuzhou City, Fujian Province
福州伬艺是一种传统的曲艺唱曲形式，流行于福建省的福州市及闽侯、长乐、连江、福清等县，并传播到台湾省及港澳地区，在缅甸、新加坡、印度尼西亚等国的福州籍华侨聚居区也有演唱。它原名唱。自1943年从业艺人成立“福州市艺乐唱联谊会”始，定名为福州艺。
As a traditional style of storytelling, Fuzhou cheyi not only prevails in Fuzhou City, Minhou, Changle, Lianjiang, Fuqing counties, etc. in Fujian Province, but has also spread to Taiwan Province, Hong Kong and Macao. It can be even heard in Burma, Singapore, Indonesia and other countries wher the overseas Fuzhou people settled. With an original name of Chang (singing), it was renamed as “Fuzhou cheyi” in 1943 when artists in this circle established “Sodality of Fuzhou Cheyi”.
相传福州伬艺是由民间卖唱艺人在民歌小调的基础上参照民间社火活动创造发展而来，约形成于明代嘉靖年间。清代出现了不少以表演艺为主的民间班社，称为“社”，著名的有达云霄、驾云天、雅乐天、同乐轩等。太平天国时期，浙江、安徽、江西的流民大量逃亡福建，随来的艺人聚集在福州的经院巷和较场沿一带，以江淮小调、莲花落及弋阳腔沿街卖唱，对当地的伬艺产生较大影响。抗日战争后，艺表演渐趋衰落。中华人民共和国成立之初，有关部门对福州伬艺进行扶持，成立了福州市艺工作者联谊会，建立了5处专门表演艺的场所，并组织艺人成立演出队和演唱小组进行演出。1960年又成立了以表演伬艺为主的福州市曲艺团，使这门传统艺术得以复兴。
Fuzhou cheyi is said to be created by some folk singers during the reign of Emperor Jiajing in the Ming Dynasty based on popular folk songs with reference to Shehuo (the performances on traditional or religious festivals). In the Qing Dynasty, a number of folk troupes sprang up with cheyi as their major performances. They were known as “She (association)” at that time. The famed She included Da Yun Xiao (Reaching Clouds), Jia Yun Tian (Riding Clouds), Ya Le Tian (Place of Elegant Joy), Tong Le Xuan (Group of Sharing Happiness) and so on. During the period of the Taiping Heavenly Kingdom, as a large number of refugees from Zhejiang, Anhui and Jiangxi Provinces fled to Fujian Province, the artists among them gathered in the place around Jingyuanxiang and Jiaochangyan of Fuzhou City. They made a living by singing along the streets, so the melodies were mixed with popular tunes of the area between the Yangtze River and the Huaihe River, Lian Hua Luo (singing performance of the blind) and Yiyang Qiang (a common systematic tune of Chinese Opera, with local features of Yiyang, Jiangxi Province). As a result, such performances had a great effect on the development of cheyi. After outbreak of the Anti-Japanese War, the performance of cheyi began to turn sour. During the early days of the People’s Republic of China, relevant government departments provided great supports for Fuzhou cheyi by establishing a sodality of Fuzhou cheyi performers, setting up 5 sites for cheyi performance, and organizing the artists to carry out various shows. Furthermore, Fuzhou Folk Vocal Art Ensemble was founded in 1960, which took cheyi as its main performance. In this sense, this traditional art got revived.
福州伬艺使用福州方音说唱，表演形式通常为一至二人自操二胡或三弦说唱表演，以唱为主，间有说表，另有人以三弦、月琴、低胡等伴奏。其中说唱表演的长篇节目称为“评话”，多人各操二胡、三弦、月琴、低胡及板鼓、檀板、摔磬、单钹、横笛、笙、小唢呐等自行伴奏围唱或轮递演唱的方式称为“全堂”。传统社火表演中进行的艺表演还辅助以跑旱船、踩高跷、台阁、马上、打莲花棍等杂技性的动作表演。福州艺的唱腔曲牌分“逗腔”、“江湖”、“歌”和“小调”四类，另有【采莲鼓】、【贺年歌】、【螃蟹歌】、【数落】等民间小调。其节目以中篇故事为主，辅之以散曲演唱。传统节目按照使用的唱腔曲牌，分为江湖本、歌本、逗腔本和小调唱篇四类，其中属于江湖本的代表性节目，有《珍珠塔》和《金龟母》等，属于“歌本”的代表性节目有《白扇记》和《拣茶记》等，属于逗腔本的代表性节目有《紫玉钗》、《猴告状》、《灵芝草》和《王昭君》等。这些节目是福州伬艺节目的主体，此外尚有各种曲调综合运用的平讲。20世纪后半期出现了不少反映现实生活的新节目，影响较大的有《红色三兄弟》、《锦绣河山》、《一帧照片》、《思归》等，同时还整理演出了《思凡》等一些优秀的传统曲目。
Fuzhou cheyi is performed in Fuzhou dialect. In most cases, it is performed in the form of a chorus consisting of one or two performers giving a storytelling show while playing Erhu (a two-stringed bowed instrument) or Sanxian (a three-stringed plucked instrument) accompanied by other performers playing Sanxian, Yueqin (a four-stringed plucked instrument with a full-moon-shaped sound box) and bass Erhu etc. The entire show is mainly composed of singing, with the interludes of story telling. In particular, the voluminous storytelling performance is called as “Ping Hua”. “Quan Tang” is another kind of performance, which refers to many performers giving performance in a circle all together or in turn. When singing, each performer plays an instrument by him/herself, and the instruments include Erhu, Sanxian, Yueqin, bass Erhu, as well as Bangu (a traditional Chinese musical instrument for beating), Tanban (hardwood clappers made of sandal wood), Shuaiqing (performance of throwing musical stones), Danbo (a bronze and round instrument), Hengdi (a kind of flute), Sheng (a reed pipe wind instrument), small Suona (Chinese clarinet) and so forth. In traditional Shehuo show, the cheyi performance is enriched by other acrobatics such as Pao Hanchuan (performers wearing boat models and parading on the street), stilts, Taige (performance on a small wood stage carried out by eight people), Mashang (performance on a horse), Da Lianhua Gun (lotus cudgel play). The works of Fuzhou cheyi are classified into “Douqiang (major music for voices in Fujian operas)”, “Jianghu (masses)”, “Ge (songs)” and “Xiaodiao (folk music)” in terms of Qupai (the names of the tunes for which Qu (music) is composed). There are also some popular folk songs such as “Cai Lian Gu (Drum Music for Picking Lotus)”, “He Nian Ge (New Year Greetings)”, “Pangxie Ge (Song of Crabs)" and “Shu Luo (Blaming)”. Most of these works are medium-length stories accompanied with medium-length folk songs. As mentioned above, there are four categories of traditional works. The representative works of “Jianghu” include “Zhenzhu Ta (Peal Tower)”, “Jingui Mu (Mother of Gold Turtle)” and so on. For “Ge” category, it includes “Bai Shan Ji (Story of A White Fan)”, “Jian Cha Ji (Story of Picking Tea Leaves)” and so on. For “Douqiang ”, it includes “Zi Yu Chai (Mauve Jade Hairpin)”, “Hou Gao Zhuang (Monkeys Filing a Suit)”, “Ling Zhi Cao (Polyporus Lucidus)” and “Wang Zhaojun (a beauty in Ancient China)”. These works constitute the main body of Fuzhou cheyi, and also there are other storytelling shows in the style of Fujian opera, which are integrated with various tones. In the second half of the twentieth century, many new works surged to reflect the true life. The well-known works include “Hong Se San Xiong Di (Three Brothers in the Party), “Jin Xiu He Shan (Gorgeous Territory)”, “Yi Zhen Zhao Pian (A Photograph)”, "Si Gui (Homesickness)” and so on. Meanwhile, some outstanding traditional works were compiled, such as “Si Fan (Missing the Secular Life)”.
进入21世纪以来，福州伬艺的发展处于濒危状态，书场已经全部消失，高台演出也从20世纪30年代的每年四千余场锐减到现在的每年不到三百场。人才青黄不接，曲本散失严重，演员已不足15人，流派艺术严重失传，招生传习困难重重，急需加以有效扶持和大力保护。
Since the twenty-first century, Fuzhou cheyi has been on the verge of extinction. The theatres for storytelling can hardly be found now, and the number of the high-stage performance also dramatically dropped from over four thousand per year in the 1930s to less than three hundred per year now. The qualified successors of Fuzhou cheyi are in severe shortage with only 15 performers who can actually perform this art, and there are great difficulties in apprentice enrollment. On the other hand, a large number of songbooks have been scattered and lost. It requires immediate and effective supports and forceful protection to Fuzhou cheyi.
相关传承人：
Inheritor(s):
钱振华 强淑如
Qian Zhenhua and Qiang Shuru