柳子戲走心的行腔

柳子戲走心的行腔

Liuzi Opera The Heartfelt Tunes

Chi Haowen

A national first-class actor, representative of the national intangible cultural heritage, Qilu cultural excellence from Shandong Provincial Liuzi Opera troupe.

遲皓文

山東省柳子戲劇團(tuán)，國家一級演員，國家級非物質(zhì)文化遺產(chǎn)代表性傳承人，齊魯文化英才

White Rabbit is a good representative of Liuzi Opera, which best to demonstrate the features of Liuzi Opera.柳子戲代表劇目《白兔記》行腔完整、婉轉(zhuǎn)華麗，最能代表柳子戲的演唱特色。

Nihao: What are the unique features of Shandong Liuzi Opera?

Chi: In terms of clothing and script, Liuzi Opera is very close to Peking Opera.

However, Liuzi Opera is unique in its tune, that is, the way that actors interpret the story and the music through their voice and pronunciation. This is because the structure of the lyrics and tunes of Liuzi Opera is very precise. The number of words of each “Qu Pai”＊ and each sentence is fixed. Therefore, Liuzi Opera relies on the variety of its tunes to improve its artistic effect. In terms of style, Liuzi Opera is particularly famous for its power. In fact, Liuzi Opera has various tunes, including the mild ones and the powerful ones. As the saying goes: “The voice of female roles is high, while the voice of male roles is trembling.”

Nihao: How can Liuzi Opera develop?

Chi: Liuzi Opera needs huge cost to develop, which involves training a troupe that consists of different roles of actors and instrumentalists. If Liuzi Opera wants to develop, it must be reformed. At present, Shandong Provincial Liuzi Opera troupe is selecting good performers and has performances regularly in rural areas, which are warmly welcomed. If Liuzi Opera wants to get more viewers, it must be closer to the aesthetic needs of the new era and make innovations and create new dramas. I also start to collect old tunes and record them into teaching materials. I think that if Liuzi Opera can be combined with the Internet, it will be able to win appreciation and recognition from more people.

Nihao：山東柳子戲與其他戲曲相比有什么獨(dú)特之處？

遲：在服裝和劇本等方面，柳子戲與京劇等戲曲十分接近。柳子戲的獨(dú)特之處在于它的行腔，也就是演員通過聲腔和咬字來詮釋劇情和曲譜的方式。這是因?yàn)榱討虻脑~格與唱腔的結(jié)構(gòu)嚴(yán)謹(jǐn),每支曲牌和每句曲詞的字?jǐn)?shù)都是固定的，因此，柳子戲通常依賴行腔的豐富變化來提高藝術(shù)造詣。在風(fēng)格方面,柳子戲尤以其粗獷聞名，也因此被很多人誤以為粗獷就是它的風(fēng)格，實(shí)際上，柳子戲的行腔豐富多彩，既有大氣粗獷又有委婉細(xì)膩，比如“旦角云里飛，小生顫巍巍”。

Nihao：柳子戲如何發(fā)展傳承？

遲：傳統(tǒng)戲曲都面臨著與社會發(fā)展節(jié)奏脫節(jié)的問題。柳子戲傳承成本大，需要培養(yǎng)一個團(tuán)隊(duì)，包括不同角色的演員和樂手等。柳子戲要獲得發(fā)展，必須有所改革。省委宣傳部和文化廳高度重視柳子戲的發(fā)展。山東省柳子戲劇團(tuán)也在積極地落實(shí)、排新戲、培養(yǎng)新人，對青年學(xué)生進(jìn)行指導(dǎo)。劇團(tuán)定期去農(nóng)村表演，贏得的反響依然熱烈。我還開始整理老的曲牌，錄制成教學(xué)材料。我認(rèn)為，如果柳子戲能開始與互聯(lián)網(wǎng)結(jié)合，那么它一定能夠?yàn)楦嗳怂蕾p和認(rèn)可。

＊Qu Pai∶ A joint name of tunes which lyrics are created for.

曲牌：傳統(tǒng)填詞制譜用的曲調(diào)調(diào)名的統(tǒng)稱。