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粤剧简史（汉语、英语）

翻译制作：国家艺术基金“面向东盟国家粤剧多语种传播平台建设”项目组

中文

粤剧简史

粤剧是广东艺人吸纳外省入粤戏班的戏曲声腔，加以易语而歌并融进本地的歌谣、小曲而形成的剧种。明中时期，粤中各地已有乡俗子弟以 戏剧为生。明嘉靖开始，出现弋阳腔、昆腔。清雍正年间，广州有“土优”演戏时唱“广腔”。及至乾隆年间，本地班艺人在佛山镇大基尾建立了同业组织琼花会馆。乾隆至道光年间，来自外省的成百个外江戏班入粤，并在广州成立粤省外江梨园会馆。本地班向外江班汲取声腔和表演的艺术养料，逐渐形成演唱梆子腔为主的演出风格。咸丰四年（1854），本地班艺人李文茂以梨园子弟为骨干，组织红巾军起义反清，清政府严禁本地班演出，艺人只得转投外江班或冒称京戏登场。同治初年，本地班再度兴起，于光绪十五年（1889）在广州成立八和会馆。本地班在这时又吸收了二簧声腔，能以梆子、二簧腔为主，兼用大腔（地方化的弋阳腔、昆腔），演出江湖十八本、新江湖十八本、大排场十八本等众多剧目。表演角色分为武生、正生、小生、小武、总生、公脚、正旦、花旦、净、丑十大行当，武打技艺是由少林武功演化而成的南派武功。演出独创的《六国大封相》时，登场百余人，花团锦簇，土音啁杂，与其他剧种迥异。早期的粤剧戏班，乘坐专门租用的“红船”沿珠江内河穿梭往返于各埠演出，故又称粤剧艺人为“红船弟子”。清末民初，广州和港澳等地陆续修建戏院，新称粤剧的本地班逐渐由农村的土舞台转到城市戏院演出，此后出现流动于大中城市之间的省港大班。为了适应城市观众和剧场演出的需要，出现了以编撰剧本为业的开戏师爷，他们新编的剧目多为华丽奇巧的生旦戏。而演出于粤西地区的下四府班，仍擅长表演武生、小武担纲的正本戏，保持着粗犷质朴的艺术特色。光绪年间陆续离乡过埠的州府班，这时更多的在海外一些国家演出。

辛亥革命（1911）前后，一些粤剧艺人受到民主革命思潮的影响，参加了孙中山倡建的同盟会的活动。社会上有人组织志士班，通过推行粤剧改良的活动，借以宣传民主革命的主张。之后受到粤剧改良风气的影响，加之需以变革求新的精神与方兴未艾的电影进行竞争，粤剧综合艺术的各种因素都发生了重大的变化。剧目内容包括了古今中外的题材，新编剧数以千计。小生、小武行当从唱假嗓改唱真嗓。梆子、二簧、弋阳腔、昆腔等声腔已大异于原本的腔调，梆子、二簧腔创造了新的板式和句式，将民间流行的木鱼、南音、粤讴、板眼等歌谣曲调运用于唱腔音乐，能把多种声腔利用曲调连缀结合板式变化的方法去综合运用，还在原有的民族伴奏乐器之外增加小提琴、萨克管、吉他等西洋乐器，粤剧唱腔音乐更加变化灵活，旋律优美。表演艺术吸收了京剧的做功和北派武打，借鉴电影、话剧讲究真实和接近生活的表演方法，形成以武生、文武生、小生、正印花旦、二帮花旦、丑生为台柱的表演体制，在生、旦、丑行产生了多种流派的唱腔。二十世纪30～40年代间，粤剧舞台上群星璀璨，涌现出薛觉先、马师曾、白驹荣、廖侠怀、桂名扬的五大流派，主导着粤剧改革方向，并创作出众多的优秀曲目。舞台布景由一桌二椅到平面、立体景片以至机关布景，灯光从火水灯、大光灯发展为电灯、彩色旋转灯。中华人民共和国成立后，粤剧进入了新的发展时期。

英文

A Brief History of Cantonese Opera

Cantonese opera iscreated by Cantonese artists who assimilated the operas brought in by operatroupes from other provinces, performed them with the local dialect andintegrated them with local ballads and ditties. During the Middle Ming period,there were already folks in various parts of central Guangdong who lived onoperas. At the beginning of the Jiajing period of the Ming dynasty, both theYiyang and Kunshan tunes rose to prominence. During the years of YongzhengEmperor's reign, there were local troupes in Guangzhou singing "Cantonesetune" in their performance. During the Qianlong Emperor's reign, the localartists set up an opera organization called the Qionghua Guild in Dajiwei,Foshan town. During the years of the Qianlong Emperor's reign to DaoguangEmperor's reign, hundreds of troupes from other provinces came to Guangdong andestablished Waijiang Liyuan Guild in Guangzhou. The local troupes drew on thecreativity from the tunes and performances of the waijiang troupes (operatroupes from other provinces), and gradually developed a performance stylefeaturing bangzi tune. In the fourth year of Emperor Xianfeng's reign (1854),Li Wenmao, an artist from a local troupe, gathered opera performers within theLiyuan Guild to lead the Red Turban Rebellion against the Qing Dynasty, whichled the Qing government to prohibit local troupes' performances. The artistshad no choice but to transfer to the waijiang troupes or deliver performancesunder the guise of the Beijing opera. In the early years of the EmperorTongzhi’s reign, the local troupes flourished again. In the fifteenth year ofEmperor Guangxu’s reign (1889), the Barwo Artists Association of Kwangtung wasestablished in Guangzhou. At that time, the local troupes absorbed the Erhuangtune, in addition they could also use both the Bangzi tune and Erhuang tune,with the accompaniment of Daqiang tune (a localized Yiyang tune and Kunshantune), to perform numerous operas, such as Jianghu Shiba Ben (eighteen operascripts), Xinjianghu Shiba Ben (new eighteen opera scripts) and DapaichangShiba Ben (the eighteen grand plays). The roles in Cantonese operas included wusheng(male warrior role), zhengsheng (starring male role), xiaosheng (youngscholar), xiaowusheng (young warrior), zongsheng (middle-aged supporting malerole), gongjiao (old male characters with low status), zhengdan (leading femalerole), huadan (young belle), jing (painted-face role), and chou (clownishrole). The martial arts originated in the Southern School from martial arts,which evolved from Shaolin kung fu. When an original opera, A Prime MinisterWho Carries Seals of Six Hostile Kingdoms, made its debut, it gathered over100 actors in various costumes and with different accents, which was quitedifferent from other operas. In the early days, the Cantonese opera troupeswould rent the "Red Boat" for transportation between towns andvillages in the Pearl River Estuary. Therefore, the Cantonese opera performerswere also called "Red Boat Performers". At the end of the QingDynasty and the beginning of the Republic of China, theaters were built oneafter another in Guangzhou, Hong Kong, Macao and other places, which led thelocal troupes to leave for city theaters to give performances. Since then,there came into being sizable troupes shuttling between large and medium-sizedcities. In order to meet the needs of the urban audience and the requirement oftheater performances, there then arose play writers who were responsible forwriting plays. Most of their works were beautiful and ingenious plays for Shengand Dan. The Xiasifu (Gaozhou prefecture, Leizhou prefecture, Lianzhou, andQiongzhou) troupe in western Guangdong, on the contrary, was still proficientat performing Zhengben dramas (standard repertoire) with wusheng (male warriorrole) and xiaowusheng (young warrior role) being important roles. Those dramasmaintained their rough and rustic artistic features. At that time, prefecturetroupes that had left their hometown during Guangxu Emperor's reign were, moreoften than not, delivering performances overseas.

Aroundthe time of the Xinhai Revolution (the Chinese Revolution), influenced by theideological trend of the democratic revolution, some Cantonese opera performersparticipated in the activities organized by Sun Yat-sen's Tongmenghui (ChineseRevolutionary Alliance). Some revolutionists organized a patriot group topublicize the ideas of the democratic revolution through promoting activitiesrelated to the improvement of Cantonese opera. Later being influenced by thecreativeatmosphere of improvement inCantonese opera, as well as the need to compete with the burgeoning filmindustry in the spirit of reform and innovation, various elements of Cantoneseopera was greatly changed. The repertoire covered themes throughout history,both at home and abroad. Thousands of new plays came into existence. Characterslike xiaosheng (young scholar) and xiaowusheng (young warrior) no longer sangin falsetto but used a modal voice instead. Vocal tunes like Bangzi tune,Erhuang tune, Yiyang tune, and Kunshan tune have changed greatly. Bangzi tuneand Erhuang tune had new types of meter for music and new sentence patterns. Byapplying ballads and melodies like Muyu (a kind of epic poetry, chanted to theclacking beat of two pieces of wood), Nanyin (Southern melody, usually sung bya blind girl), Yueou (ballads sung to the accompaniment of the Chinese lute,the pipa) and Banyan (measure in traditional Chinese music) which were popularamong the folks to arias (music for voice in a Chinese opera), they couldperform with various tunes by joining together melodies and changing the typesof metre for music. Besides the original national accompaniment instruments,some western instruments were added, such as violin, saxophone, and guitar,providing more flexibility and melody. Cantonese opera incorporated the skillsof the Peking Opera and the martial arts of the Northern School, drew lessonsfrom the performing art of films and spoken dramas which feature authenticityand closeness to life, and gradually developed a performing system with wusheng,wenwusheng, xiaosheng, zhengyin huadan (leading female role ), Erbang huadan (second female lead) and chousheng(male clown) being the pillars. Various genres of singing style came into beingin Sheng, Dan, and Chou. From the 1930s to the 1940s, when talents in Cantoneseopera shone bright on stage, five schools emerged, which were respectively ledby Sit Kok Sin, Ma Si Tsang, Baak Keol Wing, Liu Hap Wai, and Kwai Ming-Yang.They dominated Cantonese opera reform and created many excellent plays. In thepast, the stage setting only included one table and two chairs, but there wereplanar, three-dimensional and even machine-operated stage scenery at that time.The lighting also expanded from kerosene lamps and headlights to electric lampsand color rotating lamps. After the founding of the People's Republic of China,Cantonese opera entered a new period of development.

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