从《山伯访友》的“音高困境”看潮音戏的童伶音区  

Register of Underage Actors in the Opera of Chaozhou Dialect:Based on the Phenomenon of Tenor Actors Dealing with Extreme High Register in the Arias from The Butterfly Lover

作　　者：温和 Wen He

机构地区：[1]浙江音乐学院

出　　处：《中国音乐》2024年第1期99-108,共10页Chinese Music

摘　　要：潮音戏旧称白字戏,即潮汕当地以方言演唱的地方戏种,包括潮州地区的潮剧(旧称“潮州白字”)与海陆丰地区的“老白字”(旧称“南下白戏”),因近代以童伶组班的传统,又有“童子班”的称谓。童伶组班的表演传统,使潮音戏具有以童伶音高为唱腔定调的音乐特点,并为童伶制废除后改由成年扮演的“大小生”带来难以克服的音高困境。本文基于海丰白字戏《山伯访友》的实地考察及记谱分析,探索童伶音区对传统唱腔音高制度及旋律表现的影响,并结合声学环境与地区民俗作为参考,揭示当代“大小生”坚守与自然音域相的童伶音区的文化原因。Chaozhou dialect opera,historically termed"Baizi opera'and colloquially known as'Chaoshan local opera',has been shaped by the unique tradition of employing child actors,leading to its designation as"Tongziban"(troupe of underage singers).This practice established a musical norm within the opera,situating F or E’as standard keys and presenting subsequent challenges for adult"Sheng"(male roles)performers post the 1950s opera reforms which discontinued the use of underage performers.Utilizing fieldwork and notational analysis of Haifeng Baizi Opera's"The Butterfly Lovers",this study investigates the impact of the young singers'registers on the conventional vocal key structure and melodic articulation.It also considers the acoustic properties of outdoor theatres and regional cultural practices to understand why contemporary"Sheng"performers persist with registers originally tailored for younger voices,despite the discrepancy with their natural vocal ranges.

关 键 词：白字戏 深波 余海平 潮剧 戏场空间 

分 类 号：J609.2[艺术—音乐]