“石家庄丝弦”旦角演唱探究

【作者】 李晓洁；

【导师】 那红；

【作者基本信息】 中央民族大学 ， 教育学原理， 2009， 硕士

【摘要】 石家庄丝弦是河北省特有的古老剧种之一,至今已有五百多年的历史,是石家庄地区土生土长的地方戏,有着广泛的群众基础,在民间素有“一昆、二高、三丝弦”的说法。由于石家庄丝弦诞生在民间并流行于乡里,因此带有浓郁的泥土气息和地方特色,形成了“真声吐字、假声行腔”的独特演唱风格,分为生、旦、净、丑诸行。石家庄丝弦属弦索腔系,为“曲牌与板式混合体”,音乐分为官调和越调两部分,官、越两调又含有各自的板式唱腔和曲牌唱腔。石家庄丝弦早期的主要伴奏乐器为:弦索、月琴、三弦、“京家伙”;现在的主要伴奏乐器为板胡、曲笛、笙、“苏家伙”。石家庄丝弦中的旦角从过去发展到今天,应该是各个行当中变化最大的。首先,在扮演者方面由男性变为女性;其次,在演唱方法上有所变革,其中最突出的就是:从早期真、假声转换脱节到现在真假混合声的运用,达到了各音区声音的统一和连贯。经过漫长的演变和一代又一代旦角演员们的努力,不管是从气息、共鸣和真假声的转换,还是从咬字吐字、行腔与润腔等方面,她们在艺术实践中都积累了丰富的演唱方法和经验,并且使旦行在石家庄丝弦中的地位越来越重要。另外,经过调查研究,笔者将旦角演唱的艺术特征归纳为:演唱语言的民间性、演唱音色的地方性和演唱方法的开放性与包容性。本文除绪论和结语外,分为三个章节进行论述。绪论部分阐述了本文研究的对象、背景、意义、现状和方法五个方面。第一章是对石家庄丝弦的概述,分别从石家庄丝弦的产生发展和基本特征两个方面进行了梳理,介绍了石家庄丝弦的起源、各个时期的发展情况、音乐结构、伴奏乐器及行当划分;第二章是文章最重要的部分,笔者在对“石家庄丝弦”旦角演唱考察的基础上,对其演唱进行了研究,分析了旦角扮演者和其演唱方法的流变情况及原因,系统地解析了丝弦旦角的演唱方法和用声技巧,并从文化的角度对其演唱的艺术特征进行了解读;第三章通过分析石家庄丝弦旦角演唱方法的可行性,从咬字行腔、用声方法和演唱情感表达三个方面,论述了民族声乐对丝弦旦角演唱方法的借鉴。中国的民族声乐要想建立自己的体系,除了向西方学习科学的演唱方法以外,还要从本国的戏曲、说唱等多种传统艺术形式中汲取营养,以发展自身并形成独特的民族风格。基于对石家庄丝弦旦角演唱的学习、了解和分析、研究,笔者认为其演唱方法和艺术标准对民族声乐的发展有着重要的意义,能够解决声乐演唱中的某些问题并使之完善,尤其是在咬字行腔、用声方法和情感表达三个方面,很值得民族声乐演唱者借鉴和学习。更多还原

【Abstract】 As one of the oldest unique opera of Hebei Province, Shijiazhuang Si’xian opera, which has 500 years history, is a kind of native drama and has a broad mass base. In folk, it is well known that "one-kun, two high, three Si’xian". Si’xian was born and is very popular in folk, so it is rich with soil flavor and local characteristics. It formed a unique singing style called "unfalssetto in word pronunciation, falsetto in singing tones ". It includes roles like Sheng, Dan, Jing, Chou. Shijiazhuang Si’xian opera "a mixture of Qupai and Ban style" is belonged to Xian’suo aria system. Music has two parts, the official tune and the Yue tune, each of them contains their own singing ways of Ban style and Qupai respectively. In earlier time, Shijiazhuang Si’xian opera’s main instruments for accompaniment included Xian’suo, Yueqin, Sanxian, and "Jingjiahuo"; but now their main instruments for accompaniment are Banhu, Qudi, Sheng and "Sujiahuo."From the past to today, the role of Dan of Shijiazhuang Si’xian opera has the biggest change in all roles. First of all, the male-actor was changed into the female one; Secondly, the change in singing skill. One of the most prominent is that: the disjointed conversion of unfalssetto and falsetto in earlier time was changed in to using the mixed voices skills now which make the voices of different diapasons unified and coherent. After a long evolution and generation after generation’s efforts, Dan-actors have accumulated plenty of wealth of singing skills and experiences whether from the breath and the conversion of unfalssetto and falsetto, or from the articulation, the singing tones and the embellishing skills, etc. Dan actors of Shijiazhuang Si’xian Opera also made the position of the Dan role more and more important. In addition, after investigating and studying, the writer summed up artistic singing features of Dan actors as follows: the folk feature of the singing language, the local feature of the singing tone and the open and inclusive feature of the singing way.This article is divided into a preface, a conclusion and three chapters. And the preface section sets out five aspects: the studying object, the background, the significance, the status and the way. The first chapter is an overview of the Shijiazhuang Si’xian Opera. The overview has three contents: the generation, the development and the basic characteristics of the Shijiazhuang Si’xian Opera. All introduce the origin, the development of various periods, the music structure, the accompaniment and the business division of the Shijiazhuang Si’xian Opera; On chapter II the most important part of the article, on the basis of investigating the Dan role, the author has studied the singing skills of Dan actors and analyzed the facts and the reasons of the changes of the Dan actors and their singing skills. The writer also systematically analyzed the singing skills and the use of sound techniques of the Dan actors, and interpreted the artistic singing features of Dan actors from a cultural way. On chapter III, by analyzing the feasibility of performing the singing ways of Dan actors from articulation, singing tones, methods of using sound and the expression of emotions, the writer discussed of using the singing ways of the Dan actors of the Shijiazhuang Si’xian Opera for reference in Chinese national vocal music.If Chinese national vocal music wants to set up its own system, it has not only to study the scientific singing ways of the West, but also to draw nutrition from our own national opera, folk art forms and many other traditional art forms to develop and form its own unique ethnic style. On the basis of studying and analyzing the singing skill of the Dan actor of Shijiazhuang Si’xian Opera, the writer’s idea is that the singing skill and the artistic standard of the Shijiazhuang Si’xian Opera have great significance on developing the national vocal music of being able to resolve and improve some of the singing problems. Especially in the articulation and singing tones, methods of using sound and emotional expressions, it is worthy to learn for national vocal singers.更多还原