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徐州梆子的发展,大致经历了三个时段:一是在有明一代,随着山、陕移民的入住,他们将家乡的民歌小调带入徐州,并与本地歌谣曲调渐渐融合,又与南方流传来的余姚腔融为一体,形成了带有本地特色的戏曲声腔。明嘉靖年间在丰县所演戏曲,当是余姚腔本地化的一种戏曲形式。二是晚明至清初,弋阳腔以其包容性强,迅即由南向北流播,并衍生出许多地方戏曲声腔。徐州终于有了本地以唱南曲为主的戏班——沛县郢雪班。此后不久,罗罗腔也由山西经河南、山东传入徐州。是罗罗腔的输入,直接影响了徐州当地戏曲声腔的形成。有了罗罗戏的艺术铺垫,才有了真正意义上的徐州梆子。三是中晚清之时,梆子戏在多年的演出实践中,逐渐形成了自己的风格,有了有姓名可考的著名梆子艺人,如蒋花架子、殷凤哲等。尤其是到了晚清,则产生了质的飞跃。在各种因素的综合作用下,徐州梆子的发展上升到一个更高的平台,以至在解放以后相当长的一个时段,徐州梆子呈现出持续辉煌的景象。
The development of Xuzhou shuttlecock has gone through roughly three periods: first, in the Ming and Qing dynasties, with the immigration of mountains and Shaanxi immigrants, they brought their hometown folk songs to Xuzhou in a minor way and gradually merged with local ballads and melted with the south Yuyao integration, formed with the local characteristics of the opera voice. Ming Jiajing played during the Fengxian opera, when the Yuyao cavity localization of a form of drama. Second, the late Ming and early Qing dynasties, Yiyang cavity to its inclusive, quickly spread from south to north, and derived from many local opera voice. Xuzhou finally have a local opera song to sing South - Peixian 郢 snow class. Shortly thereafter, Luo Luo chamber also by Shanxi, Henan, Shandong, Xuzhou. Is Luo Luo cavity input, a direct impact on the formation of Xuzhou local opera sound cavity. With the Luo Luo opera art bedding, have a real sense of Xuzhou Bangzi. Thirdly, during the middle and late Qing dynasty, Baizi opera gradually formed its own style in many years of performance practice. There are famous Baizi artists who have the name to test, such as Jiang Hua shelf and Yin Fengzhe. Especially in the late Qing Dynasty, it produced a qualitative leap. Under the combined action of various factors, the development of Xuzhou Bangzi rose to a higher platform, and even after a long period of liberation, Xuzhou Bangzi showed a continuous and brilliant scene.