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藝術特征

壽(shou)寧北(bei)路戲(xi)的(de)(de)(de)(de)唱(chang)(chang)腔(qiang)(qiang)除極(ji)少數(shu)具(ju)有高腔(qiang)(qiang)曲牌(pai)體(ti)特征外，大(da)多(duo)數(shu)均屬板腔(qiang)(qiang)體(ti)，曲調旋律優美，節奏歡快，行腔(qiang)(qiang)順暢，帶有敘(xu)事性(xing)的(de)(de)(de)(de)表現特征。其道白(bai)、唱(chang)(chang)腔(qiang)(qiang)均使(shi)用普通話，這(zhe)已成為(wei)北(bei)路戲(xi)的(de)(de)(de)(de)一個突出(chu)特色。在(zai)數(shu)百(bai)年的(de)(de)(de)(de)演出(chu)活動(dong)中，北(bei)路戲(xi)總結出(chu)一套深(shen)為(wei)廣大(da)觀眾所(suo)喜愛的(de)(de)(de)(de)表演形(xing)式(shi)，不管什么腳(jiao)色行當，都以手、眼、身(shen)、法、步等(deng)肢體(ti)語言來表現人物(wu)性(xing)格和心(xin)理(li)活動(dong)，推動(dong)劇情(qing)進展(zhan)，這(zhe)種對形(xing)體(ti)動(dong)作的(de)(de)(de)(de)強化和對人物(wu)內(nei)心(xin)活動(dong)的(de)(de)(de)(de)外化與唱(chang)(chang)腔(qiang)(qiang)緊密結合在(zai)一起，唱(chang)(chang)與做(zuo)高度和諧(xie)，形(xing)成許(xu)多(duo)且歌且舞、兼(jian)文兼(jian)武的(de)(de)(de)(de)表演藝術形(xing)式(shi)，豐富(fu)了戲(xi)劇的(de)(de)(de)(de)表現力。

戲曲音樂

音樂聲腔

壽寧北(bei)路戲(xi)(xi)(xi)唱腔(qiang)介于聯(lian)曲(qu)(qu)(qu)(qu)體(ti)與板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)體(ti)之(zhi)間(jian)，以(yi)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)體(ti)為(wei)(wei)主，以(yi)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正、反(fan)調(diao)(diao)(diao)(diao)為(wei)(wei)其(qi)基本唱腔(qiang)，多(duo)數是(shi)(shi)上(shang)(shang)、下兩個(ge)樂(le)句的(de)(de)(de)(de)形式(shi)。唱腔(qiang)節(jie)奏(zou)多(duo)變(bian)，尤其(qi)是(shi)(shi)以(yi)后(hou)(hou)(hou)半拍起音的(de)(de)(de)(de)音樂(le)穿插在樂(le)句中(zhong)和(he)(he)大(da)音程跳進等的(de)(de)(de)(de)變(bian)化，使曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)活(huo)潑(po)奔放，優美動聽。唱腔(qiang)可分為(wei)(wei)三類(lei)(lei)：一(yi)(yi)是(shi)(shi)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正調(diao)(diao)(diao)(diao)和(he)(he)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)反(fan)調(diao)(diao)(diao)(diao)。平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)正調(diao)(diao)(diao)(diao)有(you)頭(tou)萬、二萬、三萬（一(yi)(yi)作“反(fan)頭(tou)犯(fan)”、“反(fan)二犯(fan)”、“反(fan)三犯(fan)”）以(yi)及(ji)(ji)“老撥子(zi)(zi)(zi)”、“秦腔(qiang)”、“梆子(zi)(zi)(zi)”（后(hou)(hou)(hou)兩種(zhong)為(wei)(wei)吹腔(qiang)），均為(wei)(wei)橫哨(shao)戲(xi)(xi)(xi)中(zhong)常用(yong)的(de)(de)(de)(de)基本調(diao)(diao)(diao)(diao)。頭(tou)萬為(wei)(wei)平(ping)(ping)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，二萬為(wei)(wei)慢(man)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，三萬為(wei)(wei)散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)或柳絲緊板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)。反(fan)調(diao)(diao)(diao)(diao)如反(fan)二萬與二萬，只(zhi)在開頭(tou)樂(le)句上(shang)(shang)有(you)正反(fan)調(diao)(diao)(diao)(diao)的(de)(de)(de)(de)旋律(lv)，無調(diao)(diao)(diao)(diao)性上(shang)(shang)的(de)(de)(de)(de)變(bian)化關系。二是(shi)(shi)疊(die)(die)牌。此(ci)(ci)類(lei)(lei)曲(qu)(qu)(qu)(qu)牌旋律(lv)平(ping)(ping)易暢(chang)，有(you)如說白(bai)，是(shi)(shi)一(yi)(yi)套(tao)由簡入(ru)繁的(de)(de)(de)(de)同(tong)一(yi)(yi)音調(diao)(diao)(diao)(diao)不同(tong)節(jie)奏(zou)的(de)(de)(de)(de)分曲(qu)(qu)(qu)(qu)體(ti)。如 [三字(zi)(zi)疊(die)(die)]、[五字(zi)(zi)疊(die)(die)]、[六字(zi)(zi)疊(die)(die)]、[七字(zi)(zi)疊(die)(die)]、[十字(zi)(zi)疊(die)(die)]、[急(ji)疊(die)(die)]、[溫州疊(die)(die)]、[卜(bu)子(zi)(zi)(zi)疊(die)(die)]、[廣(guang)東疊(die)(die)] 等，較(jiao)(jiao)帶沉思抒情(qing)(qing)特(te)點(dian)，不似其(qi)他(ta)同(tong)類(lei)(lei)曲(qu)(qu)(qu)(qu)牌風(feng)趣活(huo)躍(yue)。三是(shi)(shi)小(xiao)(xiao)調(diao)(diao)(diao)(diao)曲(qu)(qu)(qu)(qu)牌。如 [溪江(jiang)調(diao)(diao)(diao)(diao)]、[小(xiao)(xiao)補(bu)缸(gang)]、[小(xiao)(xiao)桃紅(hong)(hong)]、[葡萄架(jia)]、[走(zou)廣(guang)東]、[茉(mo)莉花]、[廣(guang)明(ming)燈]、[游花船]、[平(ping)(ping)和(he)(he)調(diao)(diao)(diao)(diao)]、[步步嬌]、[男(nan)辭(ci)]、[女辭(ci)]、[踢球(qiu)花腔(qiang)]、[小(xiao)(xiao)上(shang)(shang)紋]、[烏(wu)盆(pen)(pen)計(ji)(ji)調(diao)(diao)(diao)(diao)] 等。這(zhe)些(xie)曲(qu)(qu)(qu)(qu)牌大(da)多(duo)自(zi)其(qi)他(ta)劇(ju)(ju)種(zhong)和(he)(he)民間(jian)小(xiao)(xiao)戲(xi)(xi)(xi)吸收，有(you)的(de)(de)(de)(de)還(huan)來自(zi)某(mou)些(xie)流(liu)(liu)行劇(ju)(ju)目(mu)如 [烏(wu)盆(pen)(pen)計(ji)(ji)調(diao)(diao)(diao)(diao)]，是(shi)(shi)《烏(wu)盆(pen)(pen)計(ji)(ji)》中(zhong)的(de)(de)(de)(de)專(zhuan)曲(qu)(qu)(qu)(qu)。 此(ci)(ci)類(lei)(lei)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)格(ge)(ge)調(diao)(diao)(diao)(diao)較(jiao)(jiao)雜，一(yi)(yi)般(ban)只(zhi)作為(wei)(wei)“插曲(qu)(qu)(qu)(qu)”運用(yong)。此(ci)(ci)外(wai)，板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)導(dao)(dao)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)(he)頭(tou)萬散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，以(yi)及(ji)(ji)演(yan)(yan)皮黃(huang)(huang)戲(xi)(xi)(xi)時所用(yong)的(de)(de)(de)(de)回(hui)龍，原板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等。這(zhe)些(xie)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)后(hou)(hou)(hou)來都(dou)成為(wei)(wei)北(bei)路戲(xi)(xi)(xi)的(de)(de)(de)(de)輔助音樂(le)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)。如[三字(zi)(zi)疊(die)(die)]、[五字(zi)(zi)疊(die)(die)]、[六字(zi)(zi)疊(die)(die)]、[七字(zi)(zi)疊(die)(die)]、[十字(zi)(zi)疊(die)(die)]、[急(ji)疊(die)(die)]、[溫州疊(die)(die)]、[卜(bu)子(zi)(zi)(zi)疊(die)(die)]、[廣(guang)東疊(die)(die)]等，較(jiao)(jiao)帶沉思抒情(qing)(qing)特(te)點(dian)，不似其(qi)他(ta)同(tong)類(lei)(lei)曲(qu)(qu)(qu)(qu)牌風(feng)趣活(huo)躍(yue)。三是(shi)(shi)小(xiao)(xiao)調(diao)(diao)(diao)(diao)曲(qu)(qu)(qu)(qu)牌。如[溪江(jiang)調(diao)(diao)(diao)(diao)]、[小(xiao)(xiao)補(bu)缸(gang)]、[小(xiao)(xiao)桃紅(hong)(hong)]、[葡萄架(jia)]、[走(zou)廣(guang)東]、[茉(mo)莉花]、[廣(guang)明(ming)燈]、[游花船]、[平(ping)(ping)和(he)(he)調(diao)(diao)(diao)(diao)]、[步步嬌]、[男(nan)辭(ci)]、[女辭(ci)]、[踢球(qiu)花腔(qiang)]、[小(xiao)(xiao)上(shang)(shang)紋]、[烏(wu)盆(pen)(pen)計(ji)(ji)調(diao)(diao)(diao)(diao)]等。 這(zhe)些(xie)曲(qu)(qu)(qu)(qu)牌大(da)多(duo)自(zi)其(qi)他(ta)劇(ju)(ju)種(zhong)和(he)(he)民間(jian)小(xiao)(xiao)戲(xi)(xi)(xi)吸收，有(you)的(de)(de)(de)(de)還(huan)來自(zi)某(mou)些(xie)流(liu)(liu)行劇(ju)(ju)目(mu)如[烏(wu)盆(pen)(pen)計(ji)(ji)調(diao)(diao)(diao)(diao)]，是(shi)(shi)《烏(wu)盆(pen)(pen)計(ji)(ji)》中(zhong)的(de)(de)(de)(de)專(zhuan)曲(qu)(qu)(qu)(qu)。 此(ci)(ci)類(lei)(lei)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)格(ge)(ge)調(diao)(diao)(diao)(diao)較(jiao)(jiao)雜，一(yi)(yi)般(ban)只(zhi)作為(wei)(wei)“插曲(qu)(qu)(qu)(qu)”運用(yong)。此(ci)(ci)外(wai)，板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)有(you)導(dao)(dao)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、搖板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)和(he)(he)頭(tou)萬散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，以(yi)及(ji)(ji)演(yan)(yan)皮黃(huang)(huang)戲(xi)(xi)(xi)時所用(yong)的(de)(de)(de)(de)回(hui)龍、原板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、散(san)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等。這(zhe)些(xie)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)后(hou)(hou)(hou)來都(dou)成為(wei)(wei)北(bei)路戲(xi)(xi)(xi)的(de)(de)(de)(de)輔助音樂(le)曲(qu)(qu)(qu)(qu)調(diao)(diao)(diao)(diao)。

音樂伴奏

壽寧北路戲音樂(le)中的伴(ban)奏有(you)琴串(chuan)、吹(chui)牌(pai)兩種。琴串(chuan)主要有(you)[頭萬(wan)串(chuan)]、[二(er)(er)萬(wan)串(chuan)]、[三萬(wan)串(chuan)]、[小拉子(zi)(zi)]、[梳妝樓]、[大(da)(da)八板]、[九環(huan)串(chuan)]、[一枝(zhi)春(chun)]、[一枝(zhi)花]等(deng)。吹(chui)牌(pai)有(you)[清(qing)如水]、[大(da)(da)尾聲(sheng)]、[上酒樓]、[雙貴子(zi)(zi)]、[龍(long)袍(pao)陣(zhen)]、[風(feng)入(ru)松]等(deng)。鑼鼓經有(you)[二(er)(er)萬(wan)頭]、[下(xia)山虎]、[火炮]、[緊(jin)沖(chong)]、[水花浪(lang)]、[浪(lang)淘沙]、[十九錘]、[九鼎環(huan)]等(deng)。

20世紀(ji)60年代初，在(zai)挖掘整理過(guo)程中(zhong)為突出以橫(heng)哨(shao)為主奏曲(qu)調的“北路調”。避(bi)免京(jing)劇(ju)化、經專家(jia)認可，音(yin)(yin)樂中(zhong)去除了[西皮]（二簧）（四平調）等曲(qu)調。保留了福建亂彈橫(heng)哨(shao)戲的特色，其音(yin)(yin)樂明快(kuai)、爽朗、易被觀眾接受(shou)。

壽寧北路戲(xi)各行(xing)當角(jiao)色，在唱曲前都有“叫(jiao)介(jie)(jie)”（或稱“叫(jiao)頭(tou)”），如“哭(ku)介(jie)(jie)”、“嘆介(jie)(jie)”、“訴介(jie)(jie)”等(deng)類，均用(yong)拖長的(de)聲(sheng)調(diao)唱念，為無伴(ban)奏(zou)的(de)干(gan)唱，然后(hou)轉(zhuan)入(ru)唱腔。“叫(jiao)介(jie)(jie)”用(yong)于不(bu)同(tong)場合，如公堂訴苦用(yong)“哭(ku)介(jie)(jie)”，徘徊悱(fei)惻用(yong)“嘆介(jie)(jie)”，閑情(qing)自(zi)得念詩詞用(yong)“吟介(jie)(jie)”，敘述情(qing)由(you)用(yong)“訴介(jie)(jie)”等(deng)。行(xing)當不(bu)同(tong)，“叫(jiao)介(jie)(jie)”聲(sheng)調(diao)各異。此外(wai)，大將出場登場高(gao)時，有時唱高(gao)腔，演員干(gan)唱，無音樂伴(ban)奏(zou)，由(you)幕后(hou)幫腔。

伴奏樂(le)器主要是長膜笛，佐以麻(ma)胡（毛竹筒作琴(qin)筒，也稱“大京(jing)胡”）、板胡、三弦(xian)、月琴(qin)、嗩吶(na)等。打(da)擊樂(le)器與(yu)京(jing)劇(ju)相似。

壽寧(ning)北路戲男女分腔，各(ge)行當各(ge)有(you)特色，如小生(sheng)(sheng)用子喉（假嗓(sang)發聲(sheng)）。音色明亮、清脆(cui)，行腔蕭灑(sa)自如。武生(sheng)(sheng)接近小生(sheng)(sheng)者用子喉，如《白門(men)樓》之(zhi)呂布、《三氣周瑜(yu)》之(zhi)周瑜(yu)；而短打武生(sheng)(sheng)如《上酒樓》之(zhi)石(shi)秀則用本(ben)嗓(sang)發聲(sheng)。

青(qing)衣，子喉發聲。按(an)傳統，青(qing)衣由男(nan)性扮演，其音(yin)色凝重悲切(qie)，行(xing)腔深沉委(wei)婉。

花(hua)旦，子喉發(fa)聲。音色(se)甜脆，行腔跳躍，婉轉(zhuan)亮麗。亦(yi)有以本(ben)嗓(sang)發(fa)聲。

老生，原喉（真嗓）發聲。音色蒼勁洪(hong)亮(liang)，行腔(qiang)悲愴蒼涼。

紅(hong)生，原喉(hou)發聲亦有與子喉(hou)行(xing)腔(qiang)結(jie)合的如(ru)《龍虎斗》趙匡胤。聲音有穿透力，行(xing)腔(qiang)抑揚頓(dun)挫、高亢寬亮。

大(da)花，原喉(hou)發聲(sheng)。音(yin)色濃重粗獷，以鼻音(yin)、腦后音(yin)為(wei)主，間用炸音(yin)。

三花，原喉發聲。音色清澈明亮(liang)，行腔(qiang)詼諧活潑，常夾念、白(bai)于行腔(qiang)中。

戲曲器樂

壽寧北路戲的樂(le)隊俗稱(cheng)“后臺”，有“軟(ruan)件(jian)”、“硬介”之分。由6人組成，俗稱(cheng)“六條(tiao)(tiao)椅”。樂(le)隊地位(wei)(wei)以鼓板(ban)為尊，正吹次之，正吹即北路戲主奏者，除了拉頭把(ba)（麻(ma)胡）外，還主奏橫哨、嗩吶。“六條(tiao)(tiao)椅”座(zuo)位(wei)(wei)編制(zhi)為：

1、硬介：鼓(gu)板、大(da)鑼、小(xiao)鑼（兼檢場）、大(da)鈸

2、軟介：正吹(chui)一橫哨、嗩吶、麻胡(hu)

副吹(chui)一嗩吶、月琴或二胡

三把一三弦

壽寧北(bei)路戲唱腔以橫哨(shao)（長膜笛）為主要(yao)伴奏(zou)樂器(qi)，配之(zhi)以麻(ma)胡。橫哨(shao)構造與(yu)曲笛相似(si),長60厘(li)米,笛管口徑(jing)2.5厘(li)米。正調吹奏(zou)筒音(yin)(yin)“6”反調吹奏(zou)筒音(yin)(yin)“2”。音(yin)(yin)色柔和，活(huo)潑而悠揚，在北(bei)路戲平板類唱腔和秦(qin)腔中應用。

麻胡，用(yong)麻竹(zhu)(zhu)制作，琴(qin)桿為(wei)小竹(zhu)(zhu)根部(bu)制成，長600mm，琴(qin)筒長130mm，厚10mm，口(kou)徑65mm，以蛇皮蒙面，以竹(zhu)(zhu)做(zuo)碼。弓長760mm，絲線為(wei)弦。音域(yu)寬廣、高亮。橫(heng)哨與(yu)麻胡為(wei)北路戲富有特色的主奏樂器(qi)。

壽寧北路戲伴奏音(yin)樂由琴串與嗩吶吹牌組(zu)成：

琴串(chuan)(chuan)以橫哨(shao)、麻胡(hu)、二(er)胡(hu)、月琴伴(ban)奏(zou)，適應(ying)于生、旦人物動作表演(yan)。主要(yao)有(you)[頭犯(fan)串(chuan)(chuan)]、[二(er)犯(fan)串(chuan)(chuan)]、[三犯(fan)串(chuan)(chuan)]、[小拉子(zi)]、[梳(shu)妝樓]、[大(da)八板]、[九環串(chuan)(chuan)]、[一枝春(chun)]、[一枝花]、[朝天子(zi)]、[天蛾(e)仔(zi)]、[柳條(tiao)金]、[夜青蛇(she)串(chuan)(chuan)]、[洞房串(chuan)(chuan)]、[八叉(cha)串(chuan)(chuan)]、[金石榴]、[小魚兒]、[安南串(chuan)(chuan)]、[西皮跳龍門]、[反跳龍門]、[到春(chun)來(lai)]等曲(qu)調。

嗩吶吹牌用于升堂(tang)、出(chu)征、喜慶、迎送之類劇情，有[清水令]、[醉太平]、[滿堂(tang)紅]、[上(shang)小樓(lou)]、[雙貴子]、[步步嬌(jiao)]、[水里魚]、[風入(ru)松]、[游(you)街]、[過場仔]、[文點絳]、[武點絳]、[北相桂]、[小河歡]、[萬年(nian)歡]、[泣顏(yan)回]、[洞(dong)房吹]、[大過場]等。

鑼(luo)(luo)鼓(gu)(gu)：壽寧北路戲(xi)鑼(luo)(luo)鼓(gu)(gu)分(fen)唱腔鑼(luo)(luo)鼓(gu)(gu)與身段鑼(luo)(luo)鼓(gu)(gu)。唱腔鑼(luo)(luo)鼓(gu)(gu)為行腔前的鑼(luo)(luo)鼓(gu)(gu)引板，如[頭(tou)犯(fan)]鑼(luo)(luo)鼓(gu)(gu)點為“格大(da)大(da)”，[反頭(tou)犯(fan)]鑼(luo)(luo)鼓(gu)(gu)點為“乙大(da)、大(da)大(da)大(da)大(da)”。身段鑼(luo)(luo)鼓(gu)(gu)用于人物上(shang)下場、行軍、對陣等情節，有(you)[下山虎]、[火炮]、[急(ji)急(ji)風(feng)]、[緊(jin)沖]、[長錘]、[三擊(ji)頭(tou)]、[水花浪(lang)]、[浪(lang)淘沙(sha)]、[十九錘]、[九鼎環]等，多數與京(jing)劇鑼(luo)(luo)鼓(gu)(gu)大(da)同小異。

傳統劇目

北(bei)路戲的代(dai)表(biao)性劇目主要有《探陰山(shan)》、《對(dui)珠環》、《紙馬記》、《鳳嬌與李旦》等。

傳承意義

作(zuo)為福(fu)建有影響的(de)珍(zhen)稀劇種之一(yi)，北路戲有著極深的(de)文化內(nei)涵和(he)極高(gao)的(de)歷史價值(zhi)。