探索阿吉拉姆演员的声乐艺术:评赏丹增贡布的展示  

Exploration in the Vocal Art of the Lhamo Performer:Commenting a Demonstration by Tenzin Gonpo

作　　者：伊莎贝拉·亨利安-多茜 桑吉东智(译)[2] Isabelle Henrion-Dourcy;Sangye Dondhup

机构地区：[1]加拿大拉瓦尔大学人类学系 [2]西藏自治区民族艺术研究所,拉萨850003

出　　处：《中国藏学》2023年第2期116-129,218,共15页China Tibetology

基　　金：国家文化和旅游部社科研究特别委托项目“藏戏在海外的研究历史与现状”阶段性成果。

摘　　要：阿吉拉姆藏戏表演中,对于声音的塑造和旋律的掌握比舞蹈和身段更加受到重视,唱功是评判一位藏戏演员最重要的标准。同时,藏戏唱腔也是传统戏曲文化中独一无二的声乐形态。阿吉拉姆藏戏有叙述、戏曲演唱和普通演唱的不同发声方式,并通过起声、转音、喉音、衬词和帮腔来训练和塑造声音;其旋律分固定的主旋律、男女旋律和长短旋律、“悲歌”旋律以及混合旋律等基本类别;每个人物的唱腔原则上具有个体特异性的“动机原则”,而在实践中则有多种方法可以偏离此原则。旋律结构既包含固定的音乐织体,同时也包含演唱者的即兴、流动性和个人发挥的范围,在当前因“藏戏现代化”或出于“保守传统”两种不同原因而出现了旋律标准化的问题。Mastery of voice production and melodies is considered the most important aspect of Tibetan opera performance,when compared with dance and gesturing.Virtuosity in singing is the most celebrated aspect of the art of ache Ihamo,and the emblematic vocal technique used to produce lhamo melodies(rnam thar)is unique in the opera traditions of China.The paper details the various modes of vocal production:narration,opera singing and regular singing.It then zooms onto the specifics of the production and training of the lhamo voice,followed by the features of a rnam thar aria:the incipit,the inflexions,the glottalizations,the meaningless interpolations and the chorus.The lhamo melodies are then presented:their terminology,basic principles and categories,such as a fixed leitmotiv,male/female and long/short melodies,the melody titled"sad song"and finally occurrences of melody mixing.In principle,each character's singing has an individualspecific"motivation principle",but in practice there are many ways to deviate from this principle.The melody structure not only includes the fixed music texture,but also includes the scope of the singer's improvisation,fluidity and personal development.At present,due to two different reasons of"Tibetan opera modernization"or"conservative tradition",the problem of melody standardization has emerged.

关 键 词：藏戏 演唱 旋律 藏戏唱腔 民族音乐学 

分 类 号：J825[艺术—戏剧戏曲]