吳家平

東河戲，作為江西省的古老劇種，發(fā)源于贛縣田村白鷺一帶。據(jù)《中國戲曲曲藝詞典》記載：東河戲發(fā)源并流傳于江西東河（即貢水），故名。起源于明嘉靖年間贛縣清唱的“坐堂班”。其產(chǎn)生和田村境內(nèi)的契真寺有著密切的聯(lián)系。

As an ancient genre of opera in Jiangxi Province， Donghe Opera originated inthe area around Tian and Bailu villages in Gan County. According to A Dictionaryof Chinese Operas and Quyi， Donghe Opera rose and spread along the Donghe River（also known as the Gong River） in Jiangxi Province; hence its name. Its prototype canbe found in the Zuotang Troupe， which sang opera arias without makeup and actingin Gan County during the reign of Emperor Jiajing in the Ming Dynasty. The formingof Donghe Opera had a close connection with the Qizhen Temple in Tian Village.

契真寺初建于漢代，到了元明時期香火極盛，寺內(nèi)僧人多達二三百人，其聲望之大可播及閩、粵、湘、浙、皖、鄂和川等地。故每逢廟會，來自省內(nèi)外各地的朝拜人士，成群結(jié)伙，絡繹不絕。他們中有一些人在進香朝拜之暇，常常在住處吟唱高昆曲子，年復一年，田村人對高腔曲子漸感興趣，紛紛學唱，有些私塾師生也爭相傳習，時間一長，聚唱成風。明嘉靖年間逐漸形成高昆腔的“坐堂班”。傳說，明末，在契真寺前搭有戲臺，謂之“民樂臺”，專為東河戲演出之用。故有“沒有契真寺，就沒有東河戲”之說。

The Qizhen Temple was first built in the HanDynasty and gained its high popularity during theYuan and Ming dynasties. The temple had two to threehundred monks during this period， and its reputationreached as far as Fujian， Guangdong， Hunan， Zhejiang，Anhui， Hubei， and Sichuan provinces. Therefore， atevery temple fair， worshipers from all over the JiangxiProvince and beyond would visit the temple in droves.In their spare time during the pilgrimage， some of theworshipers would sing operas in both styles of Gaoqiang（a high-pitched opera singing style） and Kunqu Operaat their lodgings. Year after year， the local villagersbecame more and more interested in Gaoqiang， thusbeginning to pick up this singing style. Some privateschool teachers and students also flocked to learn，and over time， singing gatherings became extremelypopular. During the reign of Jiajing， the ZuotangTroupe， which sang in the mixed styles of Gaoqiang andKunqu Opera， came into form. Legend has it that inthe late Ming Dynasty， a “folkmusic stage” was set upin front of the QizhenTemple exclusivelyfor the performanceof Donghe Opera.Hence the sayinggoes， “Without theQizhen Temple，there would be noDonghe Opera.”

“坐堂班”始于廟會期間，香客帶來的歌班樂隊，每班五六人或者七八人不等，樂隊有管弦、打擊樂，詞曲有高、昆、南北詞，后期有彈腔。其中分雅、俗兩種，所謂“雅”者，即文人學士歡聚一堂，吹拉彈唱，以消磨歲月為主；所謂“俗”者，即藝人用以謀生，除司宴會時演唱助興外，兼司奏樂迎送賓客。

The Zuotang Troupe first performed during thosetemple fairs， and was composed of the singing andmusical bands brought by the pilgrims. Each troupehad five or six people， or sometimes seven to eight， whoplayed wind， string， and percussion instruments， andsang Gaoqiang， Kunqu Opera， and southern and northerntunes. The style of Tanqiang （singing in a bouncingvoice） was also adopted in their singings in later years.The performance of the Zuotang Troupe could bedivided into two categories： “highbrow” and “l(fā)owbrow”.The so-called “highbrow” performances were forthe literati to get together， playing instruments， andsinging operas to idle away time， while the “l(fā)owbrow”ones were for the artists to earn a living， performingat banquets for entertainment or to greet and see offguests.

在“坐堂班”盛行時，田村流傳著一種裝故事的習俗。每逢廟會，必以男女兒童扮作神道仙佛故事中的人物或者流行戲曲中的畫面，置于數(shù)尺見方的小轎臺上，肩抬游行。

During the heyday of the Zuotang Troupe， acustom of “acting out stories” was on the spread inTian Village. Whenever a temple fair was held， littleboys and girls would dress up as characters frommythical stories or popular operas， being placed onsedan chairs and then carried by adults on parade.

明萬歷年間，劉仁全及其私塾師生，嘗試著將田村只唱不坐的“坐堂班”與有形無聲的扮故事合二為一，加上富有地方色彩的民間鑼鼓曲牌，搬上舞臺演出，經(jīng)過不斷改進吸收，積累了不少劇目，包括有名的高腔連臺大戲《目蓮傳》《西游記》《三國演義》《岳飛》及許多正本、雜套。到清順治三年，劉仁全去世后的第八年，東河戲的雛形“玉合班”正式成立。因贛州為章、貢二水匯合處，章水在西稱為“西河”，貢水在東稱為“東河”，因東河戲發(fā)源于貢水，故定名為“贛州東河戲”。

In the Wanlis reign of the Ming Dynasty， LiuRenquan， together with his private school teachers andstudents， made efforts to combine the Zuotang Troupe，which only involved singing， with the silent “acting outstories”. They also added some touches of locality， suchas the names of folk wind and percussion music tunes，before putting the play of mixed elements on stage.After continuous improvement， many classic playswere produced， including some most famous ones suchas The Legend of Mu Lian， Journey to the West， Romanceof the Three Kingdoms， and General Yue Fei， as well asmany other original operas and modified ones. In thethird year of the Shunzhis reign of the Qing Dynasty（1646）， the eighth year after Liu Renquans death， theprototype of Donghe Opera — the Yuhe Troupe — wasofficially established. Since Ganzhou is situated at theconfluence of the Zhang River and Gong River， theZhang River in the west is called Xihe （the West River），and the Gong River in the east is known as Donghe （theEast River）. For having originated alongside the GongRiver， this genre of opera was thus named GanzhouDonghe Opera.“

玉合班”同期又出現(xiàn)了“雪聚班”。清順治十一年，蘇州昆曲班社演員來到東河組建了“昆曲雪聚班”。后戲班有本地人參與，改名為“凝秀班”?！坝窈习唷币愿咔粸橹鳎瑒∧糠倍?，而且行當齊全，人才薈萃。歷代有演生行、旦行、凈行和丑行，都演技超群，各有絕招，名噪一時?！澳惆唷眲t以唱昆曲為主，兼唱高腔。它首開風氣，仿清宮演出模式，運用機關(guān)布置，燈彩特技上演《白蛇傳》。蟒蛇出洞，翻滾泳弋，讓不夠身份觀看演出的當?shù)厝舜箫栄鄹?。從此以后，“‘凝秀班的蛇、‘玉合班的耙”，在群眾中廣為流傳，這兩個班社也逐漸成為東河戲的源流。

At the same time， the Xueju Troupe also sprangup. In the eleventh year of the Shunzhis reign （1654），actors from the Kunqu Opera Troupe in Suzhou cameto Donghe and formed the Xueju Troupe of KunquOpera. Later， local people joined the troupe， andNingxiu Troupe was taken as its new name. The YuheTroupe sang mainly in the style of Gaoqiang， and had avariety of plays as well as a complete range of roles andtalents. Over the years， actors playing the Sheng （maleroles）， Dan （female roles）， Jing （painted-face roles）， andChou （comic roles） all outclassed their contemporariesbecause of their unique techniques， thus gainingconsiderable fame at that time. In comparison， the?Ningxiu Troupe primarily sang in the style of KunquOpera， but it also adopted the tune of Gaoqiang. It wasthe first to adopt the style of court plays， using stagedevices， lighting， and stunts to perform The Legend ofthe White Snake. Its performance， which featured thelifelike movement of rolling and twisting pythons， wasa feast for the eyes of the local audience who never hadthe chance to watch court plays. From then on， thereputation of “Ningxiu Troupes snakes， Yuhe Troupesrakes” was spread from mouth to mouth， and these twotroupes gradually became the origin of Donghe Opera.

隨著時代的發(fā)展，東河戲又不斷地廣征博采，吐故納新，逐步形成一個大型劇種。清康熙年間，有一宜黃人，在贛縣石院當司官，帶來了宜黃調(diào)，稱為“二凡”，后稱“二黃”。此為東河戲吸取二黃調(diào)之始。咸豐年間，贛縣藝人丁仔師傅在廣西桂劇班演丑行?；丶液螅压饎〉?0 多本西皮戲傳授給東河戲藝人，如《仁圣會》《雙界牌》等。爾后，東河戲又大量吸收了安慶調(diào)、弋板、南北詞、秧腔……自此，東河戲已經(jīng)非常成熟，并受到廣大觀眾的喜愛。自乾隆年，歷經(jīng)多個朝代，時隔100 多年，東河戲達到全盛。此時，班社達30 多個，劇目有《目蓮》《三國》《封神》《岳飛》等八種連臺本大戲，另有高腔劇目225 出，昆腔劇目104 出，其他劇目518 出，演出范圍逐步由贛南內(nèi)地擴展到周邊的萬安、遂川、泰和以及外省福建、廣東等地。

With the passage of time， Donghe Opera constantlyabsorbed and integrated various styles， graduallyevolving into a mainstream genre. During the Kangxisreign of the Qing Dynasty， a person from Yihuang，who was a magistrate in Shiyuan， Gan County， introducedthe Yihuang tune. The tune was called “Erfan”，and later became known as “Erhuang”. This was the beginningfor Donghe Opera to adopt the Erhuang tune.During the Xianfengs reign， an artist from Gan Countynamed Ding Zai， who had played the Chou in the GuiOpera Troupe in Guangxi， introduced more than tenXipi operas to Donghe Opera artists， such as Ren ShengHui and Shuang Jie Pai. Later， Donghe Opera absorbedmany other singing styles， including the Anqing tune，Yiban （rhythm clappers）， southern and northern tunes，and the style of Yangqiang… From thence， DongheOpera was well developed and was loved by a wide audience.Since the Qianlongs reign， through several periodsspanning over 100 years， Donghe Opera had reachedits zenith. At that time， there were over thirty troupesperforming eight serial operas， including Mu Lian， ThreeKingdoms， League of Gods， and Yue Fei， as well as 225Gaoqiang Operas， 104 Kunqu Operas， and 518 otheroperas. Their performances gradually expanded fromthe south of Ganzhou to surrounding areas such asWanan， Suichuan， Taihe， and other provinces such asFujian and Guangdong.

在東河戲幾百年的發(fā)展史上，白鷺村的鐘崇儼、鐘谷父子倆占有比較重要的地位。

During the several hundred years of development ofDonghe Opera， Zhong Chongyang and his son ZhongGu in Bailu Village played a fairly important role.

鐘崇儼（1778—1858），于嘉慶十一年，任浙江嘉興知府。當時，官紳多以昆曲為家樂，以嘗其雅音，鐘崇儼也親自組建昆腔班，在家扮演，并娶當時昆腔班中的蘇州女子平氏（鐘谷生母）為妾。其兄鐘崇倌能作詞曲，丫環(huán)仆役均為昆班之人。道光二年，鐘崇儼辭官率領(lǐng)昆班回到白鷺，家庭中經(jīng)常以昆曲自樂，并把東河戲的高腔班社融于一體。

Zhong Chongyan （1778–1858）， in the 11th yearof Jiaqings reign， was appointed magistrate of JiaxingPrefecture， Zhejiang Province. At that time， manyofficials and gentry chose Kunqu Opera as their familymusic because of its elegance， and Zhong Chongyanalso established a Kunqu Opera troupe to play athome and married Ping， a woman from Suzhou in thetroupe （Zhong Gus birth mother）， as his concubine.His brother， Zhong Chongguan， was also good atcomposing lyrics and music， and even his maids andservants were from the troupe. In the second yearof Daoguangs reign， Zhong Chongyan resigned hisofficial post and led the Kunqu Opera troupe back toBailu Village. His family often entertained themselveswith Kunqu Opera and integrated the Gaoqiang troupeof Donghe Opera into it.

鐘谷（1843—1919），系鐘崇儼四子，光緒九年，任湖北黃梅知縣。鐘谷在昆曲家中成長，耳濡目染，酷愛音律，并得其母家傳，又經(jīng)名師指導，與昆曲結(jié)下了不解的情緣。清光緒二十四年，鐘谷回到白鷺后，醉心于東河戲的創(chuàng)新與推廣。他常招“凝秀班”至家中親自指導，力致其唱腔、劇藝及演奏精益求精。之后“凝秀班”上演的大小近百出戲，無一不是由鐘谷親自整理編排和導演的。

In the ninth year of Guangxus reign， Zhong Gu（1843–1919）， the fourth son of Zhong Chongyan， wasappointed magistrate of Huangmei County， HubeiProvince. Growing up in a family of Kunqu Opera，Zhong Gu was therefore greatly influenced and had apassion for music and rhythm. He inherited his talentfrom his mother and was inspired by famous teachers，thus forming an indissoluble bond with KunguOpera. In the 24th year of Guangxus reign， Zhong Gureturned to Bailu Village and devoted himself to theinnovation and promotion of Donghe Opera. He ofteninvited the Ningxiu Troupe to his home， directedtheir performance， and refined their singing， acting，and instrumental performing. The one hundred oddoperas performed by the Ningxiu Troupe were allchoreographed and directed by Zhong Gu in person.

鐘崇儼父子迭受封典，對清庭禮樂儀式尤為熟悉。這給東河戲帶來了一股清新的氣息，故東河“凝秀班”不僅為鄉(xiāng)民所喜愛，也受當?shù)毓偌澲囱觥?/p>

Bestowed by the Emperor with many honorarytitles， Zhong Chongyan and his son Zhong Gu wereboth familiar with the court music and ceremonialrituals during the Qing Dynasty. Their knowledge ofcourt music also helped refine Donghe Opera， makingit novel and refreshing. Therefore， the Ningxiu Troupewas not only appreciated by local villagers but alsorespected by local officials and gentry.

東河昆腔由江浙傳入，經(jīng)鐘崇儼父子悉心傳授，又在音律上經(jīng)鐘谷之修飾，融高腔于一體，使東河戲當之無愧成為江西古老劇種。

The singing style of Donghe Kunqiang was introducedfrom Jiangsu and Zhejiang provinces. Meticulouslytaught by Zhong Chongyan and his son， andlater with its rhyme being refined by Zhong Gu， DongheKunqiang was integrated with Gaoqiang， makingitself a worthy representative as an ancient opera genrein Jiangxi Province.

2014 年，東河戲被列入國家級非物質(zhì)文化遺產(chǎn)代表性保護名錄。為弘揚中華優(yōu)秀傳統(tǒng)文化，東河戲非遺傳承人馬玉蘭大力開展東河戲的保護傳承工作，通過挖掘整理文字、音頻、視頻等形式進行搶救性保護，又大力開展東河戲非遺項目傳承人的培訓。同時，她把東河戲的音樂融入廣播體操，實現(xiàn)東河戲高腔、昆腔、彈腔與廣播體操青春、歡快、靈動之間的交融，使古老的東河戲變成現(xiàn)代的韻律操，不斷推動東河戲融入尋常百姓家，融入現(xiàn)代人們的日常生活。

In 2014， Donghe Opera was included in the National Intangible CulturalHeritage List. In order to promote this excellent traditional culture， MaYulan， an inheritor of Donghe Opera， devoted herself to the protection andinheritance of Donghe Opera. She conducted salvage protection throughthe collection and organization of texts， audio， and video materials， and alsoprovided training for the apprentices of Donghe Opera. At the same time，she integrated the music of Donghe Opera into radio calisthenics， blendingthe Gaoqiang， Kunqu Opera， and Tanqiang styles of Donghe Opera with theyouthful， cheerful， and nimble movements of radio calisthenics. This hastransformed the ancient Donghe Opera into a modern rhythmic exercise，constantly promoting its integration into ordinary peoples homes and daily lives.