“江湖十八本”与粤剧梆簧声腔源流

Gems from Vagrant Player's Art and the Origin of Cantonese Opera

粤剧是以梆子(即西皮)、二簧为主要腔调的皮黄剧种,皮黄入粤是粤剧形成的标志。但长期以来有关粤剧声腔源流问题,却一直争论不休,难有定论。作为民间演剧的历史传承,"江湖十八本"对于探寻声腔的流变具有不可替代的作用。粤剧"江湖十八本"是皮黄入粤之初的一批优秀传统剧目,它保留了粤剧"外江戏"阶段的许多遗存,是研究粤剧现有声腔源流的重要依据。经考证,粤剧的"江湖十八本"最初只有十大本,而非十八本,后八本系后人所加。粤剧十大本来自陕西的汉调二簧。汉二簧实即历史上流传极广的秦腔,它是所有皮黄剧种的鼻祖,早在清康熙年间即已传入广西桂林并逐渐本土化。粤剧源自陕西,形成于广西,是秦腔在两广本土化的产物。

Gents from Vagrant Player＇s Art （Cantonese opera） contains an outstanding traditional repertory at the early years of Pihuang, providing clues to the ＂waijiang＂ troupes stage of Cantonese opera. Cantonese operatic tune originated from Shaanxi Erhuang, which is also known as Qin qiang, the ancient and extensively prevalent local opera of Shaanxi. Qin qiang was introduced to and localized in Guilin, Guangxi, during the Kangxi reign in the Qing dynasty, which served as a source of Cantonese opera.