1、漢調二簧(湖北省),編號:Ⅳ-31
(1)批(pi)次(ci)/類型(xing):2008年(nian)(第二(er)批(pi)),擴(kuo)展項目
(2)申(shen)報地區或單位:湖北省(sheng)竹溪(xi)縣
(3)保護(hu)單位(wei):竹(zhu)溪縣山二(er)黃劇種(zhong)保護(hu)傳承展(zhan)演中(zhong)心(xin)
2、漢調二簧(陜西省),編號:Ⅳ-31
(1)批次(ci)/類型(xing):2006年(第(di)一批),新增(zeng)項(xiang)目
(2)申報地(di)區或單位:陜(shan)西省安康市(shi)
(3)保護單位(wei):安(an)康市(shi)群(qun)眾藝術館
漢(han)(han)(han)調(diao)(diao)二(er)(er)簧(huang)(huang)(huang)系(xi)板(ban)腔(qiang)(qiang)(qiang)體(ti),以(yi)二(er)(er)簧(huang)(huang)(huang)、西(xi)(xi)(xi)(xi)皮(pi)(pi)(pi)為(wei)(wei)(wei)主要聲(sheng)腔(qiang)(qiang)(qiang),屬(shu)(shu)“皮(pi)(pi)(pi)簧(huang)(huang)(huang)腔(qiang)(qiang)(qiang)系(xi)”劇(ju)種(zhong)。二(er)(er)簧(huang)(huang)(huang)、西(xi)(xi)(xi)(xi)皮(pi)(pi)(pi)為(wei)(wei)(wei)兩種(zhong)不同的(de)腔(qiang)(qiang)(qiang)調(diao)(diao)。其腔(qiang)(qiang)(qiang)調(diao)(diao)考原至今亦(yi)為(wei)(wei)(wei)諸(zhu)說(shuo)并存。一(yi)般(ban)認(ren)為(wei)(wei)(wei),西(xi)(xi)(xi)(xi)皮(pi)(pi)(pi)調(diao)(diao)源(yuan)于(yu)陜、甘一(yi)帶(dai)、即“西(xi)(xi)(xi)(xi)皮(pi)(pi)(pi)本甘肅腔(qiang)(qiang)(qiang)、所用以(yi)托腔(qiang)(qiang)(qiang)者為(wei)(wei)(wei)胡琴(qin)、為(wei)(wei)(wei)月琴(qin)、故(gu)日(ri)琴(qin)腔(qiang)(qiang)(qiang)、西(xi)(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”“明末(mo)已流行內地’’之說(shuo)。二(er)(er)簧(huang)(huang)(huang)調(diao)(diao)之源(yuan),一(yi)說(shuo)陜西(xi)(xi)(xi)(xi)土(tu)生(sheng)土(tu)長,屬(shu)(shu)秦(qin)(qin)(qin)聲(sheng)古調(diao)(diao)之一(yi)種(zhong),在漢(han)(han)(han)水(shui)流域發展(zhan)成(cheng)長,是為(wei)(wei)(wei)“漢(han)(han)(han)調(diao)(diao)”、“漢(han)(han)(han)二(er)(er)簧(huang)(huang)(huang)”、“西(xi)(xi)(xi)(xi)曲二(er)(er)簧(huang)(huang)(huang)”;一(yi)說(shuo)漢(han)(han)(han)劉(liu)邦屯(tun)兵漢(han)(han)(han)中(zhong)時,將漢(han)(han)(han)水(shui)中(zhong)上(shang)游(you)(you)民歌作(zuo)軍(jun)謠,后帶(dai)入(ru)關中(zhong)制于(yu)樂府(fu),集秦(qin)(qin)(qin)楚(chu)樂工傳唱,因別于(yu)楚(chu)、秦(qin)(qin)(qin)樂及西(xi)(xi)(xi)(xi)域龜(gui)茲樂而稱漢(han)(han)(han)調(diao)(diao)、秦(qin)(qin)(qin)聲(sheng);一(yi)說(shuo)源(yuan)自(zi)唐代簧(huang)(huang)(huang)幡綽所創“簧(huang)(huang)(huang)冠(guan)體(ti)”而得(de)名二(er)(er)簧(huang)(huang)(huang),即“梨園(yuan)法曲說(shuo)”;一(yi)說(shuo)由(you)“徽調(diao)(diao)”、“四平(ping)調(diao)(diao)”衍變;一(yi)說(shuo)“起于(yu)江(jiang)右”,系(xi)“弋陽腔(qiang)(qiang)(qiang)”派生(sheng),或“西(xi)(xi)(xi)(xi)秦(qin)(qin)(qin)腔(qiang)(qiang)(qiang)”傳入(ru)江(jiang)西(xi)(xi)(xi)(xi),改竹笛、嗩(suo)吶為(wei)(wei)(wei)胡琴(qin)伴(ban)奏變成(cheng)二(er)(er)簧(huang)(huang)(huang)等(deng)。西(xi)(xi)(xi)(xi)皮(pi)(pi)(pi)、二(er)(er)簧(huang)(huang)(huang)西(xi)(xi)(xi)(xi)調(diao)(diao)合(he)流演(yan)變的(de)眾說(shuo)中(zhong),多認(ren)為(wei)(wei)(wei)明末(mo)清初,在漢(han)(han)(han)水(shui)流域合(he)成(cheng),先(xian)自(zi)漢(han)(han)(han)水(shui)中(zhong)上(shang)游(you)(you)順流東(dong)下荊(jing)、襄、武(wu)漢(han)(han)(han)得(de)以(yi)發展(zhan),又溯水(shui)洄流漢(han)(han)(han)水(shui)中(zhong)上(shang)游(you)(you)一(yi)帶(dai)。
漢(han)調二簧(huang)在(zai)發(fa)展中(zhong)曾(ceng)形成(cheng)安康(kang)、漢(han)中(zhong)、商雒、關中(zhong)等流派,名(ming)角層出(chu)不窮。其腳色共分末、凈、生、旦(dan)、丑、外、小、貼、老、雜十(shi)個行當,表演(yan)講究細膩精到,唱腔(qiang)真(zhen)假嗓并用(yong)(yong),悠揚(yang)婉(wan)轉。生、老旦(dan)一般用(yong)(yong)真(zhen)聲演(yan)唱,旦(dan)用(yong)(yong)假聲演(yan)唱,凈則(ze)使用(yong)(yong)虎音。其唱腔(qiang)以西皮、二簧(huang)為(wei)主(zhu),西皮用(yong)(yong)于表現愉快(kuai)、爽朗的(de)情緒和場(chang)面,二簧(huang)用(yong)(yong)于表現悲哀、肅穆的(de)情緒和場(chang)面,演(yan)唱中(zhong)根據劇情需要交替使用(yong)(yong),形成(cheng)甜音、苦音之分。
漢(han)(han)調(diao)(diao)(diao)(diao)二(er)簧(huang)(huang)(huang)唱(chang)(chang)(chang)(chang)(chang)腔(qiang)(qiang)分二(er)簧(huang)(huang)(huang)調(diao)(diao)(diao)(diao)和西(xi)皮(pi)(pi)(pi)調(diao)(diao)(diao)(diao)兩種(zhong),俗(su)稱二(er)簧(huang)(huang)(huang)為(wei)“上(shang)(shang)把(ba)”,曲(qu)(qu)調(diao)(diao)(diao)(diao)唱(chang)(chang)(chang)(chang)(chang)法上(shang)(shang)講(jiang)究板(ban)(ban)(ban)起板(ban)(ban)(ban)落(luo),用(yong)“頂牙子”開口(kou)。板(ban)(ban)(ban)式有(you)【導板(ban)(ban)(ban)】、【慢三眼】等(deng)十(shi)(shi)二(er)種(zhong)。西(xi)皮(pi)(pi)(pi)調(diao)(diao)(diao)(diao)稱“下(xia)把(ba)”,唱(chang)(chang)(chang)(chang)(chang)法上(shang)(shang)眼起板(ban)(ban)(ban)落(luo),用(yong)“過(guo)(guo)牙子”開口(kou)。板(ban)(ban)(ban)式有(you)【導板(ban)(ban)(ban)】、【一(yi)字】等(deng)十(shi)(shi)種(zhong)。二(er)簧(huang)(huang)(huang)的(de)(de)(de)(de)反調(diao)(diao)(diao)(diao)稱反二(er)簧(huang)(huang)(huang)(陽板(ban)(ban)(ban)),西(xi)皮(pi)(pi)(pi)反調(diao)(diao)(diao)(diao)稱反西(xi)皮(pi)(pi)(pi)。另(ling)外,還有(you)高(gao)撥子、四平調(diao)(diao)(diao)(diao)、徽(hui)調(diao)(diao)(diao)(diao)、昆(kun)(kun)腔(qiang)(qiang)、板(ban)(ban)(ban)兒(er)腔(qiang)(qiang)、吹腔(qiang)(qiang)、高(gao)腔(qiang)(qiang)、看山腔(qiang)(qiang)等(deng)雜(za)腔(qiang)(qiang)雜(za)調(diao)(diao)(diao)(diao)。如《牧虎(hu)關》高(gao)旺(wang),《三搜(sou)府》施公皆用(yong)徽(hui)調(diao)(diao)(diao)(diao)演(yan)(yan)唱(chang)(chang)(chang)(chang)(chang);《大(da)賜福》、《過(guo)(guo)二(er)關》等(deng)全用(yong)昆(kun)(kun)曲(qu)(qu)演(yan)(yan)唱(chang)(chang)(chang)(chang)(chang);《下(xia)河東(dong)》用(yong)吹腔(qiang)(qiang)(嗩吶調(diao)(diao)(diao)(diao))演(yan)(yan)唱(chang)(chang)(chang)(chang)(chang);《釘缸(gang)》用(yong)七句半(ban)(ban)演(yan)(yan)唱(chang)(chang)(chang)(chang)(chang);《小放牛(niu)》用(yong)小調(diao)(diao)(diao)(diao)演(yan)(yan)唱(chang)(chang)(chang)(chang)(chang)等(deng)。把(ba)西(xi)皮(pi)(pi)(pi)【一(yi)字】和【二(er)六】唱(chang)(chang)(chang)(chang)(chang)調(diao)(diao)(diao)(diao)的(de)(de)(de)(de)過(guo)(guo)門重復(fu)一(yi)遍叫做“雙環(huan)環(huan)”,是(shi)洛鎮二(er)簧(huang)(huang)(huang)的(de)(de)(de)(de)一(yi)大(da)特(te)色。整(zheng)個(ge)曲(qu)(qu)調(diao)(diao)(diao)(diao)委婉不足,質樸有(you)余(yu),故有(you)“硬(ying)腔(qiang)(qiang)”之說。二(er)簧(huang)(huang)(huang)戲中,有(you)二(er)簧(huang)(huang)(huang)或(huo)西(xi)皮(pi)(pi)(pi)一(yi)調(diao)(diao)(diao)(diao)到底的(de)(de)(de)(de),也有(you)兩種(zhong)曲(qu)(qu)調(diao)(diao)(diao)(diao)交(jiao)替(ti)使(shi)用(yong)的(de)(de)(de)(de)。有(you)的(de)(de)(de)(de)上(shang)(shang)句唱(chang)(chang)(chang)(chang)(chang)二(er)簧(huang)(huang)(huang),下(xia)句接西(xi)皮(pi)(pi)(pi);或(huo)前(qian)半(ban)(ban)句唱(chang)(chang)(chang)(chang)(chang)二(er)簧(huang)(huang)(huang),后半(ban)(ban)句唱(chang)(chang)(chang)(chang)(chang)西(xi)皮(pi)(pi)(pi)。如《二(er)進宮》“跪臣”一(yi)節,徐彥昭前(qian)半(ban)(ban)句用(yong)二(er)簧(huang)(huang)(huang)【原板(ban)(ban)(ban)】唱(chang)(chang)(chang)(chang)(chang)“嚇(xia)壞了(le)定國(guo)王”,楊博接“兵(bing)部(bu)侍郎(lang)”,就變(bian)成了(le)西(xi)皮(pi)(pi)(pi)【流水板(ban)(ban)(ban)】。這種(zhong)變(bian)調(diao)(diao)(diao)(diao)改(gai)板(ban)(ban)(ban)的(de)(de)(de)(de)“倒把(ba)”方式,是(shi)漢(han)(han)調(diao)(diao)(diao)(diao)二(er)簧(huang)(huang)(huang)聲腔(qiang)(qiang)的(de)(de)(de)(de)特(te)點之一(yi)。
伴奏(zou)樂隊(dui)的文場(chang)使用(yong)胡琴、二(er)胡、月琴、三弦、阮、嗩(suo)吶、笛子(zi)(zi)、喇叭等樂器,武(wu)場(chang)則使用(yong)牙(ya)板、梆子(zi)(zi)、暴(bao)鼓(gu)、尖鼓(gu)、鑼(luo)、鐃鈸等。漢調二(er)簧的臉譜樣式(shi)眾多,比京劇和秦(qin)腔更為考究(jiu),收集到的有四百五十(shi)多個。
唱腔(qiang)音樂中有(you)西(xi)皮類九種(zhong)板(ban)(ban)(ban)式,如【導(dao)板(ban)(ban)(ban)】【慢(man)一(yi)字】【一(yi)字】【二流(liu)】【三流(liu)】【浪(lang)里(li)(li)鉆】【撩子(zi)】【滾白】【灑頭】;二簧類板(ban)(ban)(ban)式有(you)【導(dao)板(ban)(ban)(ban)】【回(hui)龍】【慢(man)一(yi)字】【一(yi)字】【扣扣板(ban)(ban)(ban)】【平板(ban)(ban)(ban)】【浪(lang)里(li)(li)鉆】【撩子(zi)】八種(zhong)。各種(zhong)板(ban)(ban)(ban)式的起板(ban)(ban)(ban)、轉板(ban)(ban)(ban)、落板(ban)(ban)(ban)都有(you)一(yi)定(ding)規律;唱腔(qiang)也兼用(yong)一(yi)些昆曲(qu),吹腔(qiang)和民間小調。
漢調(diao)二簧傳(chuan)(chuan)統劇目(mu)豐富,僅安康一地就有(you)一千二百多種,已挖掘(jue)整理出本戲420個,折子戲517個。這(zhe)些(xie)劇目(mu)的題材多取自《東(dong)周列國(guo)志》《三國(guo)演(yan)義》《封神演(yan)義》及其他歷史故事和民間傳(chuan)(chuan)說,其中的代(dai)表(biao)性劇目(mu)有(you)《文姬辨琴》《胡(hu)笳十八拍》《戰蚩尤》《嘗百草》《簧天蕩》《清風亭》《二度梅》《打龍棚》《梁(liang)紅玉》等。
嘉慶(qing)至道光(guang)年(nian)(nian)間(jian)(jian)(1796—1850),楊金(jin)年(nian)(nian)在漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)西(xi)鄉開(kai)(kai)辦(ban)科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)的出(chu)(chu)(chu)科(ke)藝術(shu)人(ren),分赴漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各地搭班(ban)(ban)(ban)(ban)(ban)(ban)(ban)或自行組(zu)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)(chu),并開(kai)(kai)科(ke)授徒。使漢(han)(han)(han)(han)調二(er)(er)簧(huang)在漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各地扎下了(le)(le)(le)(le)根(gen)子(zi),出(chu)(chu)(chu)現(xian)(xian)了(le)(le)(le)(le)職業戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)仁(ren)豐班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、漢(han)(han)(han)(han)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban),于道光(guang)二(er)(er)十(shi)年(nian)(nian)前后(hou)(hou)(hou),還去(qu)湖(hu)北、安康等(deng)(deng)地演出(chu)(chu)(chu)。楊金(jin)年(nian)(nian)、查來松及張清(qing)(qing)壽(shou)(人(ren)稱(cheng)“活靈官”),又(you)(you)(you)接(jie)辦(ban)了(le)(le)(le)(le)永(yong)、青(qing)長(chang)三(san)科(ke),培訓(xun)出(chu)(chu)(chu)的藝人(ren),又(you)(you)(you)分別組(zu)建起(qi)長(chang)勝、青(qing)云、永(yong)太(tai)等(deng)(deng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),并跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)又(you)(you)(you)代培出(chu)(chu)(chu)太(tai)、周、萬字(zi)輩藝人(ren),壯大(da)了(le)(le)(le)(le)二(er)(er)簧(huang)力(li)量,形成(cheng)(cheng)了(le)(le)(le)(le)上(shang)河調(漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)為(wei)(wei)漢(han)(han)(han)(han)水上(shang)流,當(dang)(dang)地欲稱(cheng)上(shang)河)二(er)(er)簧(huang)。張清(qing)(qing)壽(shou)死后(hou)(hou)(hou)葬于鎮(zhen)巴縣(xian)(xian)(xian)城東北角,其第子(zi)于墳側(ce)修(xiu)建“靈官廟”一座,廟內(nei)存有(you)張的塑像,成(cheng)(cheng)為(wei)(wei)后(hou)(hou)(hou)世漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)藝人(ren)祭祖之地。光(guang)緒年(nian)(nian)間(jian)(jian)(1875—1908)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)等(deng)(deng)地,又(you)(you)(you)先后(hou)(hou)(hou)辦(ban)起(qi)了(le)(le)(le)(le)大(da)同社(she)(she)、福(fu)慶(qing)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、雙(shuang)慶(qing)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)漢(han)(han)(han)(han)調二(er)(er)簧(huang)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)(she)。光(guang)緒三(san)十(shi)三(san)年(nian)(nian)(1907)楊偉堂、蘇巒玉(yu)、趙某(山陽縣(xian)(xian)(xian)人(ren))、賀保保(安康人(ren)),合伙于南鄭(zheng)縣(xian)(xian)(xian)秦家壩大(da)安寺開(kai)(kai)辦(ban)了(le)(le)(le)(le)天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),共(gong)收學徒七十(shi)余(yu)(yu)人(ren),為(wei)(wei)當(dang)(dang)時漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)最大(da)的科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。三(san)年(nian)(nian)后(hou)(hou)(hou),西(xi)鄉縣(xian)(xian)(xian)的九榮兩科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)四十(shi)余(yu)(yu)人(ren)被接(jie)納(na)入天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),人(ren)員多達百(bai)余(yu)(yu)人(ren)以上(shang),曾開(kai)(kai)往四川(chuan)演出(chu)(chu)(chu)。宣統二(er)(er)年(nian)(nian)(1910)于成(cheng)(cheng)都首場演出(chu)(chu)(chu)《滿床笏(hu)》,轟(hong)動一時。至辛亥(hai)革命后(hou)(hou)(hou),李(li)偉堂才(cai)率班(ban)(ban)(ban)(ban)(ban)(ban)(ban)返回漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)。不久,戲(xi)箱交由鄭(zheng)天(tian)滿領管,改天(tian)泰科(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)為(wei)(wei)興(xing)漢(han)(han)(han)(han)社(she)(she),成(cheng)(cheng)為(wei)(wei)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)二(er)(er)簧(huang)的主力(li)。以后(hou)(hou)(hou)三(san)十(shi)年(nian)(nian)間(jian)(jian),馬天(tian)慶(qing)(領班(ban)(ban)(ban)(ban)(ban)(ban)(ban))與王吉元、王來壽(shou)等(deng)(deng),跟(gen)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)帶徒培訓(xun)出(chu)(chu)(chu)福(fu)、耀、玉(yu)、勝等(deng)(deng)輩學員,流布漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)各縣(xian)(xian)(xian),并組(zu)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)演出(chu)(chu)(chu),遂出(chu)(chu)(chu)現(xian)(xian)了(le)(le)(le)(le)寧強(qiang)縣(xian)(xian)(xian)的賀斌班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、胡(hu)家壩的趙開(kai)(kai)志(zhi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、留(liu)壩縣(xian)(xian)(xian)的唐安榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、德燕班(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)幾(ji)十(shi)個戲(xi)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),使漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)派二(er)(er)簧(huang)開(kai)(kai)始(shi)出(chu)(chu)(chu)現(xian)(xian)了(le)(le)(le)(le)盛期(qi)。抗日(ri)戰爭(zheng)后(hou)(hou)(hou)期(qi),職業班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)(she)僅留(liu)有(you)蒲正華(hua)所領的興(xing)漢(han)(han)(han)(han)社(she)(she),二(er)(er)簧(huang)戲(xi)頓(dun)呈衰弱(ruo)景況。中(zhong)(zhong)(zhong)(zhong)華(hua)人(ren)民(min)共(gong)和國成(cheng)(cheng)立后(hou)(hou)(hou),由興(xing)漢(han)(han)(han)(han)社(she)(she)和幾(ji)個業余(yu)(yu)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)人(ren)員組(zu)成(cheng)(cheng)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)(shi)平民(min)劇(ju)社(she)(she),后(hou)(hou)(hou)改為(wei)(wei)漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)(shi)漢(han)(han)(han)(han)劇(ju)團(tuan)。1967年(nian)(nian)解散,1979年(nian)(nian)重(zhong)新(xin)恢復。1981年(nian)(nian)與漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)(shi)文工團(tuan)合并,取名漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)市(shi)(shi)實驗劇(ju)團(tuan)。漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)漢(han)(han)(han)(han)調二(er)(er)簧(huang)語音接(jie)近四川(chuan),唱(chang)腔(qiang)具有(you)音調清(qing)(qing)新(xin)、柔婉(wan)的特(te)點。主要盛行于漢(han)(han)(han)(han)中(zhong)(zhong)(zhong)(zhong)、南鄭(zheng)、西(xi)鄉、城固、鎮(zhen)巴、勉縣(xian)(xian)(xian)等(deng)(deng)地。
自乾(qian)隆(1736—1795),蒿坪河(he)二(er)簧(huang)(huang)乾(qian)勝班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、泰豐(feng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)出(chu)(chu)(chu)現后(hou),至(zhi)道(dao)光年間(1821—1850),又有(you)漢(han)(han)榮班(ban)(ban)(ban)(ban)(ban)(ban)(ban)(漢(han)(han)中派)、仁豐(feng)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、宜(yi)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)相繼演(yan)(yan)出(chu)(chu)(chu)。咸豐(feng)十(shi)年(1860)安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)籍藝(yi)人(ren)(ren)(ren)(ren)(ren)范(fan)仁寶(渾名(ming)(ming)范(fan)驢子(zi))從湖(hu)(hu)北房(fang)縣(xian)大(da)覺(jue)寺率領(ling)瑞仁班(ban)(ban)(ban)(ban)(ban)(ban)(ban)回安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang),于城內三(san)義廟(miao)搭臺售(shou)票演(yan)(yan)出(chu)(chu)(chu),又在(zai)金(jin)堂寺、萬壽寺開科(ke)(ke)(ke)授徒,培養(yang)出(chu)(chu)(chu)瑞、彩、方(fang)、盛(sheng)四科(ke)(ke)(ke)安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)(ren)(ren)(ren)。該(gai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)陣容整齊(qi),行(xing)當齊(qi)全,其唱(chang)(chang)腔雜有(you)湖(hu)(hu)北民間曲(qu)調(diao)(diao),人(ren)(ren)(ren)(ren)(ren)稱下河(he)調(diao)(diao),具有(you)唱(chang)(chang)腔清(qing)新(xin)悅耳(er)(er),表(biao)演(yan)(yan)細膩神奇(qi)的(de)(de)(de)風(feng)(feng)格(ge),習者(zhe)眾多(duo),使安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)調(diao)(diao)二(er)簧(huang)(huang)得(de)(de)到(dao)(dao)(dao)了(le)(le)(le)長(chang)足新(xin)悅耳(er)(er),表(biao)演(yan)(yan)細膩神奇(qi)的(de)(de)(de)風(feng)(feng)格(ge),習者(zhe)眾多(duo),使安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)調(diao)(diao)二(er)簧(huang)(huang)得(de)(de)到(dao)(dao)(dao)了(le)(le)(le)長(chang)足發(fa)(fa)展。同(tong)治年間(1862—1874)出(chu)(chu)(chu)科(ke)(ke)(ke)的(de)(de)(de)方(fang)、盛(sheng)兩(liang)科(ke)(ke)(ke)藝(yi)術人(ren)(ren)(ren)(ren)(ren),先(xian)后(hou)入關中、四川(chuan)演(yan)(yan)出(chu)(chu)(chu);瑞、彩科(ke)(ke)(ke)藝(yi)人(ren)(ren)(ren)(ren)(ren)長(chang)期駐(zhu)足于安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)地(di)區(qu),使安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)調(diao)(diao)二(er)簧(huang)(huang)在(zai)唱(chang)(chang)腔、表(biao)演(yan)(yan)等方(fang)面(mian)發(fa)(fa)生了(le)(le)(le)較大(da)變(bian)化。清(qing)末民案初,安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)各(ge)(ge)地(di)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)日益(yi)增多(duo),最(zui)有(you)影響的(de)(de)(de)為(wei)十(shi)三(san)太(tai)(tai)(tai)字班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。即金(jin)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、福太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、鼎(ding)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、廣(guang)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、隆太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、貴太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、仁太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、榮太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、盛(sheng)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、喜(xi)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、治太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)、裕太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)和德(de)太(tai)(tai)(tai)班(ban)(ban)(ban)(ban)(ban)(ban)(ban)。后(hou)因連年災(zai)荒,兵匪(fei)橫行(xing),班(ban)(ban)(ban)(ban)(ban)(ban)(ban)社(she)紛(fen)(fen)紛(fen)(fen)解體(ti)。民國(guo)八年(1919)年安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)藝(yi)人(ren)(ren)(ren)(ren)(ren)凌(ling)成(cheng)佑(you),在(zai)城防駐(zhu)軍北洋第七師(shi)的(de)(de)(de)支(zhi)持下,成(cheng)立了(le)(le)(le)漢(han)(han)劇(ju)(ju)(ju)(ju)同(tong)心(xin)社(she),以安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)城為(wei)大(da)本營(ying),于陜南(nan)漢(han)(han)水流域(yu)各(ge)(ge)縣(xian)廟(miao)會(hui)、商(shang)會(hui)、鄉鎮售(shou)票演(yan)(yan)出(chu)(chu)(chu),二(er)簧(huang)(huang)再一次(ci)起興。出(chu)(chu)(chu)現的(de)(de)(de)藝(yi)人(ren)(ren)(ren)(ren)(ren)有(you)青衣(yi)泰斗陳長(chang)庚(geng),凈角陳天靜、知長(chang)福,花旦閻保林,丑角范(fan)大(da)德(de)、梁金(jin)玉,生角徐茂才、黃大(da)架,小(xiao)生孫(sun)玉寶、李玉喜(xi)及安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)第一代女藝(yi)人(ren)(ren)(ren)(ren)(ren)鐘(zhong)玉鳳、郭玉蓮(lian)等。抗日戰爭(zheng)爆發(fa)(fa)后(hou),京、滬各(ge)(ge)地(di)藝(yi)人(ren)(ren)(ren)(ren)(ren)逃至(zhi)陜南(nan),京劇(ju)(ju)(ju)(ju)、越劇(ju)(ju)(ju)(ju)、曲(qu)劇(ju)(ju)(ju)(ju)、話劇(ju)(ju)(ju)(ju)及秦(qin)腔傳入安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang),安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)又走向了(le)(le)(le)低谷。凌(ling)成(cheng)佑(you)不甘現狀,在(zai)同(tong)心(xin)社(she)開辦科(ke)(ke)(ke)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),培養(yang)了(le)(le)(le)一批二(er)簧(huang)(huang)藝(yi)人(ren)(ren)(ren)(ren)(ren),使安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)二(er)簧(huang)(huang)再度(du)出(chu)(chu)(chu)現了(le)(le)(le)回升之勢。中華(hua)人(ren)(ren)(ren)(ren)(ren)民共和國(guo)成(cheng)立后(hou),安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)地(di)方(fang)政(zheng)府(fu)將同(tong)心(xin)社(she)與西關自樂社(she)合并成(cheng)立安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)(ju)院,先(xian)后(hou)排(pai)演(yan)(yan)了(le)(le)(le)《小(xiao)二(er)黑(hei)結(jie)婚》、《窮(qiong)人(ren)(ren)(ren)(ren)(ren)恨》、《九(jiu)件(jian)衣(yi)》、《北京四十(shi)天》等劇(ju)(ju)(ju)(ju)目,受(shou)到(dao)(dao)(dao)觀眾歡迎。1956年安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)人(ren)(ren)(ren)(ren)(ren)民劇(ju)(ju)(ju)(ju)院改為(wei)安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)縣(xian)漢(han)(han)劇(ju)(ju)(ju)(ju)團(tuan)。專(zhuan)區(qu)各(ge)(ge)縣(xian)也先(xian)后(hou)成(cheng)立起縣(xian)屬專(zhuan)業漢(han)(han)劇(ju)(ju)(ju)(ju)團(tuan),從業人(ren)(ren)(ren)(ren)(ren)員(yuan)達三(san)百余(yu)人(ren)(ren)(ren)(ren)(ren)。1959年陜西省(sheng)戲曲(qu)學校(xiao)設立漢(han)(han)劇(ju)(ju)(ju)(ju)班(ban)(ban)(ban)(ban)(ban)(ban)(ban),為(wei)漢(han)(han)劇(ju)(ju)(ju)(ju)培養(yang)學員(yuan)七十(shi)五名(ming)(ming),充實(shi)了(le)(le)(le)漢(han)(han)劇(ju)(ju)(ju)(ju)新(xin)生力量。1981年陜西省(sheng)文化局于安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)舉行(xing)了(le)(le)(le)首屆漢(han)(han)劇(ju)(ju)(ju)(ju)會(hui)演(yan)(yan),名(ming)(ming)流薈萃,各(ge)(ge)呈異彩,把二(er)簧(huang)(huang)戲推(tui)到(dao)(dao)(dao)一個新(xin)的(de)(de)(de)階段。安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)漢(han)(han)調(diao)(diao)二(er)簧(huang)(huang)擅演(yan)(yan)文戲,唱(chang)(chang)腔秀(xiu)麗、委婉,主(zhu)要流行(xing)安(an)(an)(an)(an)(an)(an)康(kang)(kang)(kang)(kang)(kang)(kang)、旬陽、紫陽、平利、白河(he)、漢(han)(han)陰、石泉等地(di)。
流行于(yu)(yu)西(xi)安(an)、三原(yuan)、涇(jing)陽(yang)、鳳翔、長安(an)、藍(lan)田(tian)、周至(zhi)、戶縣(xian)(xian)、咸(xian)陽(yang)、耀(yao)縣(xian)(xian)等(deng)(deng)地。注重唱(chang)(chang)工,劇(ju)(ju)本(ben)水詞少,正、悲劇(ju)(ju)多,曲牌、打擊樂多帶秦腔風味。最得文(wen)人(ren)、商紳、旗、滿、回民和(he)軍政(zheng)要人(ren)的(de)喜(xi)好。嘉(jia)慶末年,漢(han)中(zhong)(zhong)(zhong)來字輩出科(ke)(ke)學(xue)(xue)生賀鴻生,領班(ban)(ban)(ban)往(wang)關中(zhong)(zhong)(zhong)寶雞、虢鎮、周至(zhi)、戶縣(xian)(xian)、涇(jing)陽(yang)、三原(yuan)、富平及西(xi)安(an)南關等(deng)(deng)地演(yan)(yan)出。受(shou)(shou)其影響,涇(jing)陽(yang)、長安(an)、周至(zhi)等(deng)(deng)地,亦(yi)先后(hou)組(zu)織(zhi)起(qi)二(er)(er)簧(huang)班(ban)(ban)(ban)社(she)(she)。光(guang)緒(xu)年間(jian)(1875—1908),出現了三原(yuan)的(de)清(qing)義(yi)班(ban)(ban)(ban),涇(jing)陽(yang)吳(wu)寡婦班(ban)(ban)(ban),并開始(shi)有(you)(you)坤(kun)伶清(qing)唱(chang)(chang)或掛衣登臺。吳(wu)寡婦班(ban)(ban)(ban)搜羅藝人(ren),延聘(pin)文(wen)人(ren)修改劇(ju)(ju)本(ben),聲譽(yu)日增(zeng)。慈(ci)禧太(tai)后(hou)逃至(zhi)西(xi)安(an)后(hou),該(gai)班(ban)(ban)(ban)曾應詔(zhao)承奉獻演(yan)(yan),得到慈(ci)禧贈(zeng)匾(bian)嘉(jia)獎。辛亥革命(ming)后(hou),陜西(xi)督都(dou)張(zhang)翔初,革命(ming)軍師長張(zhang)云山(shan),支持在西(xi)安(an)創辦了二(er)(er)簧(huang)鳴(ming)(ming)盛(sheng)學(xue)(xue)社(she)(she),先后(hou)培(pei)(pei)養(yang)學(xue)(xue)員二(er)(er)百余(yu)人(ren),成(cheng)為(wei)關中(zhong)(zhong)(zhong)地區(qu)二(er)(er)簧(huang)的(de)最大科(ke)(ke)班(ban)(ban)(ban)。教師有(you)(you)趙安(an)子、吳(wu)李乾等(deng)(deng)。出科(ke)(ke)的(de)演(yan)(yan)員有(you)(you)山(shan)鳴(ming)(ming)歧、劉鳴(ming)(ming)祥(xiang)、張(zhang)鳴(ming)(ming)峰、雷鳴(ming)(ming)震等(deng)(deng),成(cheng)為(wei)關中(zhong)(zhong)(zhong)二(er)(er)簧(huang)的(de)中(zhong)(zhong)(zhong)堅力量,曾受(shou)(shou)聘(pin)于(yu)(yu)四川、甘(gan)肅、河南等(deng)(deng)地傳藝和(he)演(yan)(yan)出。關中(zhong)(zhong)(zhong)二(er)(er)簧(huang)演(yan)(yan)出的(de)主要劇(ju)(ju)目(mu)有(you)(you)《火輪牌》、《汜水關》、《破(po)桃(tao)山(shan)》、《出五關》、《過巴州(zhou)》、《鎖陽(yang)城(cheng)》、《四平山(shan)》等(deng)(deng)。1925年駐軍賈興運組(zu)織(zhi)的(de)二(er)(er)簧(huang)班(ban)(ban)(ban),演(yan)(yan)出一時而解體。1931年,藝人(ren)王安(an)奎創辦志義(yi)科(ke)(ke)班(ban)(ban)(ban),培(pei)(pei)養(yang)出演(yan)(yan)員劉志俊、劉志勝、馮志才、邵志福、董志杰(jie)等(deng)(deng),同時還出現有(you)(you)慶義(yi)社(she)(she)和(he)中(zhong)(zhong)(zhong)興社(she)(she),因(yin)難以立足西(xi)安(an)而多巡回于(yu)(yu)外(wai)縣(xian)(xian)演(yan)(yan)出。1949年初,原(yuan)“鳴(ming)(ming)盛(sheng)學(xue)(xue)社(she)(she)”、“慶義(yi)社(she)(she)”等(deng)(deng)漢(han)調二(er)(er)簧(huang)班(ban)(ban)(ban)社(she)(she)合(he)并為(wei)“大眾劇(ju)(ju)社(she)(she)”,活動三年散班(ban)(ban)(ban)。自此,關中(zhong)(zhong)(zhong)地區(qu)再無專業二(er)(er)簧(huang)劇(ju)(ju)團,僅西(xi)安(an)、藍(lan)田(tian)、戶縣(xian)(xian)尚有(you)(you)二(er)(er)簧(huang)研究會,經常組(zu)織(zhi)一些業余(yu)演(yan)(yan)唱(chang)(chang)活動。
盛行于(yu)鎮(zhen)(zhen)安(an)(an)(an)、山(shan)(shan)陽(yang)(yang)、商(shang)(shang)(shang)縣(xian)(xian)(xian)、洛(luo)南等(deng)地。向以武戲見長(chang),演(yan)(yan)(yan)《八蠟廟》、《紅桃山(shan)(shan)》等(deng)劇(ju)(ju)(ju),使用真槍真刀(dao)。同(tong)治、光緒(xu)年(nian)(nian)(nian)間(1862—1908),出(chu)(chu)科于(yu)漢中(zhong)西鄉(xiang)沙河坎楊(yang)金年(nian)(nian)(nian)科班(ban)(ban)的(de)(de)名藝人(ren)賀鴻生(sheng),曾從湖北(bei)、關(guan)(guan)中(zhong)往返于(yu)商(shang)(shang)(shang)洛(luo)地區(qu)傳播二(er)(er)簧(huang),培養出(chu)(chu)趙安(an)(an)(an)子(zi)、吳(wu)寶卿、演(yan)(yan)(yan)技超(chao)群(qun),頗(po)受觀(guan)眾(zhong)歡迎。光緒(xu)二(er)(er)十(shi)四年(nian)(nian)(nian)(1898),清廷還詔趙、吳(wu)進(jin)宮演(yan)(yan)(yan)唱。姚政班(ban)(ban)先(xian)后舉辦(ban)科班(ban)(ban),培養出(chu)(chu)“廣(guang)”、“慶”兩(liang)科藝人(ren)五(wu)十(shi)余名,壯大(da)了洛(luo)鎮(zhen)(zhen)二(er)(er)簧(huang)的(de)(de)演(yan)(yan)(yan)出(chu)(chu)隊伍。二(er)(er)十(shi)世(shi)紀二(er)(er)、三十(shi)年(nian)(nian)(nian)代(dai),二(er)(er)簧(huang)戲繼(ji)(ji)續發展,出(chu)(chu)現的(de)(de)班(ban)(ban)社(she)有(you)柞(zuo)水(shui)縣(xian)(xian)(xian)北(bei)河代(dai)大(da)爺班(ban)(ban),商(shang)(shang)(shang)縣(xian)(xian)(xian)城內孔海(hai)(hai)山(shan)(shan)的(de)(de)商(shang)(shang)(shang)山(shan)(shan)升平(ping)社(she),商(shang)(shang)(shang)縣(xian)(xian)(xian)北(bei)區(qu)的(de)(de)屈映(ying)南班(ban)(ban),鎮(zhen)(zhen)安(an)(an)(an)縣(xian)(xian)(xian)城姚再勝(sheng)的(de)(de)五(wu)福(fu)班(ban)(ban),云蓋寺(si)的(de)(de)安(an)(an)(an)樂(le)社(she)和柞(zuo)水(shui)石鎮(zhen)(zhen)、商(shang)(shang)(shang)縣(xian)(xian)(xian)黑(hei)龍(long)口、韓(han)峪川、楊(yang)斜、東(dong)鄉(xiang)等(deng)地的(de)(de)二(er)(er)簧(huang)班(ban)(ban),共十(shi)余個。藝人(ren)有(you)代(dai)大(da)爺班(ban)(ban)的(de)(de)劉(liu)(liu)五(wu)燕(yan)(紅生(sheng)、武旦(dan))、張志富(二(er)(er)凈(jing)(jing))、朱長(chang)福(fu)(外)、龔金娃(末)等(deng),五(wu)福(fu)班(ban)(ban)的(de)(de)尹榮山(shan)(shan)(凈(jing)(jing))、董(dong)興平(ping)(旦(dan))、金雙慶(生(sheng))、雷鳴(ming)震(生(sheng))等(deng),安(an)(an)(an)樂(le)社(she)的(de)(de)羅(luo)福(fu)娃、陳大(da)炮(pao)、劉(liu)(liu)子(zi)勝(sheng)(生(sheng))、張長(chang)生(sheng)(丑)、高(gao)志海(hai)(hai)(旦(dan))等(deng),商(shang)(shang)(shang)縣(xian)(xian)(xian)、山(shan)(shan)陽(yang)(yang)、柞(zuo)水(shui)縣(xian)(xian)(xian)各(ge)班(ban)(ban)的(de)(de)李保林、王廣(guang)翠(cui)、陳剛娃、黃亮子(zi)、呂慶華、張慶鴻等(deng)。演(yan)(yan)(yan)出(chu)(chu)的(de)(de)劇(ju)(ju)(ju)目主要有(you)《斬黃袍》《天(tian)水(shui)關(guan)(guan)》《端午門(men)》《受禪臺(tai)》《天(tian)才吃饃》《南北(bei)會》《洪羊(yang)洞(dong)》《白門(men)樓》《清河橋》《大(da)開(kai)榜》《元宵謎》《梵王宮》《漁舟配》《鼓滾劉(liu)(liu)封》《雙投唐》《草橋關(guan)(guan)》《月(yue)明樓》《望兒樓》等(deng)。抗日戰爭(zheng)期間,洛(luo)鎮(zhen)(zhen)漢調二(er)(er)簧(huang)呈現蕭條之勢,不少班(ban)(ban)社(she)解體。至抗日戰爭(zheng)末期,只有(you)柞(zuo)水(shui)抗建劇(ju)(ju)(ju)團、鎮(zhen)(zhen)安(an)(an)(an)三勝(sheng)班(ban)(ban)等(deng)還在演(yan)(yan)(yan)出(chu)(chu)。中(zhong)華人(ren)民(min)共和國成立后,1955年(nian)(nian)(nian)5月(yue)以大(da)同(tong)社(she)和抗建劇(ju)(ju)(ju)團為基(ji)礎(chu)建立了商(shang)(shang)(shang)洛(luo)新生(sheng)劇(ju)(ju)(ju)團,1956年(nian)(nian)(nian)秋,鎮(zhen)(zhen)安(an)(an)(an)縣(xian)(xian)(xian)以三勝(sheng)班(ban)(ban)為基(ji)礎(chu)組(zu)建了群(qun)眾(zhong)劇(ju)(ju)(ju)團。1957年(nian)(nian)(nian)后又(you)相繼(ji)(ji)組(zu)建成立了山(shan)(shan)陽(yang)(yang)縣(xian)(xian)(xian)和鎮(zhen)(zhen)安(an)(an)(an)縣(xian)(xian)(xian)兩(liang)個縣(xian)(xian)(xian)級專業漢劇(ju)(ju)(ju)團,經常于(yu)本縣(xian)(xian)(xian)及商(shang)(shang)(shang)縣(xian)(xian)(xian)、洛(luo)南、丹鳳等(deng)地巡(xun)回演(yan)(yan)(yan)出(chu)(chu)。并(bing)招(zhao)收學員,培養出(chu)(chu)武新艾(ai)等(deng)一(yi)批(pi)演(yan)(yan)(yan)員。
經研究認定,漢調(diao)二簧形成較(jiao)早(zao),各地其(qi)他(ta)皮(pi)簧聲(sheng)腔劇種都與之存在(zai)淵(yuan)源關(guan)系,它對川劇、徽劇、京(jing)劇等的形成和發展有著(zhu)不可忽略的影響。
如(ru)今,漢調(diao)二簧觀眾銳(rui)減,經濟(ji)上出現困難,不(bu)斷走向衰(shuai)落,專(zhuan)業劇(ju)團(tuan)紛紛解散,僅剩下安康漢濱區(qu)一個(ge)劇(ju)團(tuan)還(huan)在維持(chi)演出,而且這個(ge)惟一的(de)劇(ju)團(tuan)也正瀕(bin)臨解散的(de)危(wei)機。在此(ci)情勢下,有必要大聲呼吁,應該盡快對這一古老劇(ju)種進(jin)行搶救(jiu)和保護。
龔尚武,男,漢族,1937年(nian)生(sheng),陜西(xi)漢陰人(ren)(ren),第二(er)(er)批國家(jia)級(ji)非物質文化(hua)遺產項目漢調二(er)(er)簧代表(biao)性(xing)傳(chuan)承人(ren)(ren)。
王發蕓,女,漢族,1941年生(sheng),陜西安康人(ren),國家(jia)二級演員,第二批國家(jia)級非物質文化遺產項目漢調二簧代表性(xing)傳承(cheng)人(ren)。
1956年,陜西省文化局及(ji)陜西省劇(ju)目工作室在安康設立專(zhuan)區戲曲發掘組,全(quan)面組織二黃老(lao)藝人們口述傳(chuan)代輩份、班社來往(wang)和源流沿革;以(yi)及(ji)迄今對古戲樓遺存至今的(de)班社壁(bi)題留字。
2019年11月,《國家級非物質文化遺產代表性項目(mu)保(bao)(bao)護(hu)單位名單》公布,安康市群眾藝術館、竹(zhu)溪(xi)縣山(shan)二(er)黃(huang)劇種保(bao)(bao)護(hu)傳承展演中心獲得“漢調二(er)簧”項目(mu)保(bao)(bao)護(hu)單位資(zi)格。
重要演出
1981年,陜西(xi)省文化廳在(zai)安康舉辦“陜西(xi)省首屆(jie)漢劇會(hui)演(yan)”,陜南地區有十余(yu)個專(zhuan)業劇團參加演(yan)出(chu),出(chu)現了空(kong)前繁榮的局面。
2015年10月(yue)16日晚,為喜迎“第十一屆中國(guo)文化(hua)藝術節”倒計時一周年,由寧陜縣(xian)文廣局主辦、廣貨(huo)街(jie)鎮沙溝漢(han)(han)劇自(zi)樂班社承辦的漢(han)(han)調二黃專場演(yan)出在寧陜縣(xian)電影院(yuan)精(jing)彩上演(yan)。
榮譽表彰
2012年(nian),平利(li)縣(xian)選送的漢調(diao)二黃戲《八仙游八仙》在首屆漢調(diao)二黃自樂班社擂臺賽中(zhong)榮獲一(yi)等獎。