徐州梆子戏起源考

发布时间：2018-10-07 19:07

【摘要】：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。
[Abstract]:The development of Xuzhou Bangzi has roughly experienced three periods: first, in the Ming Dynasty, with the arrival of the mountain and Shaanxi immigrants, they brought their hometown folk songs into Xuzhou and gradually merged with the local ballad tunes. And Yuyao from the south to melt into one, formed with local characteristics of the opera. The opera performed in Fengxian during the Ming Jiajing period was a form of opera localized in Yuyao cavity. Secondly, from late Ming Dynasty to early Qing Dynasty, Yiyang tune was broadcasted from south to north with its strong inclusiveness, and many local operas were generated. Xuzhou finally had the local opera troupe-Peixian Ying Xue class. Shortly thereafter, Luo cavity also from Shanxi through Henan, Shandong into Xuzhou. It was the input of Luo cavity, which directly affected the formation of Xuzhou local opera. With the art of Luo opera, there is a real sense of Xuzhou Bangzi. Third, the late Qing Dynasty, Bangzi opera in many years of performance practice, gradually formed their own style, with the name of famous Bangzi artists, such as Jiang Hua shelf, Yin Fengzhe and so on. Especially in the late Qing Dynasty, there was a qualitative leap. Under the comprehensive action of various factors, the development of Xuzhou Bangzi rises to a higher platform, and even in a long period after liberation, Xuzhou Bangzi presents a brilliant scene.
【作者单位】：江苏师范大学文学院;
【分类号】：J825

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