芒果视频

歷史淵源

甌劇已有三百多年歷(li)史，較有影(ying)響的(de)(de)傳統劇目有《高(gao)機與吳(wu)三春》、《陽河(he)摘印》以及創作的(de)(de)現代戲《東海小哨兵》等(deng)(deng)。甌劇的(de)(de)音樂除亂(luan)(luan)(luan)彈(dan)外，還有高(gao)腔(qiang)、昆曲(qu)、徽戲、皮黃等(deng)(deng)劇種的(de)(de)唱腔(qiang)曲(qu)調，十分(fen)豐富多彩(cai)。甌劇唱腔(qiang)分(fen)“正(zheng)亂(luan)(luan)(luan)彈(dan)”和“反亂(luan)(luan)(luan)彈(dan)”；正(zheng)亂(luan)(luan)(luan)彈(dan)主要曲(qu)調有[慢(man)亂(luan)(luan)(luan)彈(dan)]、[二漢]、[玉(yu)麒]、[流水(shui)]、[小桃紅]等(deng)(deng)；反亂(luan)(luan)(luan)彈(dan)有[錦翠]、[洛梆子]、[反流水(shui)]、[反緊板]等(deng)(deng)。

溫(wen)州是宋代(dai)南(nan)戲(xi)的發源地。明代(dai)以(yi)后(hou)(hou)，高(gao)(gao)腔(qiang)、昆(kun)腔(qiang)流行于浙江南(nan)部，明末(mo)清(qing)初，溫(wen)州的戲(xi)班(ban)以(yi)演(yan)唱高(gao)(gao)腔(qiang)和(he)昆(kun)腔(qiang)為(wei)(wei)(wei)主，亂(luan)(luan)彈腔(qiang)傳入后(hou)(hou)，逐(zhu)漸兼(jian)唱“高(gao)(gao)”、“昆(kun)”、“亂(luan)(luan)”。當時(shi)溫(wen)州一(yi)帶(dai)農(nong)村流行一(yi)種半職業性的“三(san)月班(ban)”，農(nong)閑時(shi)結(jie)班(ban)做戲(xi)。農(nong)忙時(shi)務農(nong)。這種班(ban)社(she)起初僅有八個演(yan)員，只(zhi)能演(yan)出《浪(lang)子踢球(qiu)》、《賣胭脂(zhi)》等小戲(xi)，在演(yan)出角色較(jiao)多的劇目(mu)時(shi)，則采(cai)取(qu)跑角、兼(jian)角辦法。后(hou)(hou)逐(zhu)漸發展(zhan)(zhan)成為(wei)(wei)(wei)職業性班(ban)社(she)。清(qing)代(dai)中葉，溫(wen)州的戲(xi)班(ban)又吸收了(le)徽調(diao)、灘簧和(he)時(shi)調(diao)，逐(zhu)漸發展(zhan)(zhan)成為(wei)(wei)(wei)多聲腔(qiang)的劇種，并出現規模(mo)較(jiao)大的職業班(ban)社(she)。但(dan)此時(shi)演(yan)唱昆(kun)腔(qiang)、高(gao)(gao)腔(qiang)者漸少(shao)，而以(yi)亂(luan)(luan)彈腔(qiang)“正亂(luan)(luan)彈”、“反亂(luan)(luan)彈”為(wei)(wei)(wei)主。

據(ju)史料考證，溫州一帶最早的(de)(de)亂(luan)彈班(ban)是以(yi)洪(hong)全本為(wei)(wei)班(ban)主的(de)(de)“老錦秀”班(ban)，成立(li)于清(qing)乾(qian)隆(long)年間（1736－1795）。老錦秀班(ban)是具多種(zhong)聲腔而以(yi)亂(luan)彈腔為(wei)(wei)主的(de)(de)班(ban)社，能演八十(shi)四本大戲，成為(wei)(wei)后來溫州亂(luan)彈固定(ding)的(de)(de)傳統(tong)劇目。清(qing)嘉(jia)慶（1796－1820）年間，班(ban)社有日(ri)秀、三(san)星(xing)、小春花、八永義等。

道光（1821－1850）時，溫(wen)州(zhou)(zhou)(zhou)一帶商業(ye)、手工業(ye)更(geng)加繁榮，人口激增(zeng)，班社一度發展到三十(shi)余個，主要班社有(you)新益奇、竹馬(ma)歌(ge)、老同(tong)慶(qing)、新聯奇、新同(tong)慶(qing)、大(da)三異、大(da)吉慶(qing)、小(xiao)同(tong)慶(qing)等。活(huo)動區域除浙(zhe)南的溫(wen)州(zhou)(zhou)(zhou)、臺(tai)州(zhou)(zhou)(zhou)（治今(jin)臨海）、處州(zhou)(zhou)(zhou)（轄今(jin)浙(zhe)江麗水、縉云、青田、遂昌、龍泉(quan)、龍和等縣）外(wai)，還遠及閩(min)北(bei)、贛東北(bei)等地，相(xiang)當繁盛(sheng)。

宣(xuan)統(tong)二年(nian)(nian)(nian)（1910）后，京劇(ju)(ju)開(kai)始在(zai)溫(wen)州(zhou)流行，溫(wen)州(zhou)亂(luan)(luan)(luan)彈(dan)(dan)開(kai)始衰落。二十世紀(ji)三十年(nian)(nian)(nian)代，大部分(fen)班(ban)社解體，致使溫(wen)州(zhou)亂(luan)(luan)(luan)彈(dan)(dan)一蹶不振，到40年(nian)(nian)(nian)代，僅存老鳳(feng)玉(yu)(yu)、新鳳(feng)玉(yu)(yu)、勝(sheng)(sheng)鳳(feng)玉(yu)(yu)三個(ge)班(ban)社。建(jian)國后，有關(guan)部門將老鳳(feng)玉(yu)(yu)、新鳳(feng)玉(yu)(yu)、勝(sheng)(sheng)鳳(feng)玉(yu)(yu)三個(ge)班(ban)社合并(bing)組(zu)成(cheng)(cheng)勝(sheng)(sheng)利(li)亂(luan)(luan)(luan)彈(dan)(dan)劇(ju)(ju)團。1950年(nian)(nian)(nian)后又先后成(cheng)(cheng)立“更(geng)新”、“紅星”等班(ban)，1955年(nian)(nian)(nian)合并(bing)為溫(wen)州(zhou)亂(luan)(luan)(luan)彈(dan)(dan)劇(ju)(ju)團。1959年(nian)(nian)(nian)溫(wen)州(zhou)亂(luan)(luan)(luan)彈(dan)(dan)更(geng)名甌劇(ju)(ju)，溫(wen)州(zhou)亂(luan)(luan)(luan)彈(dan)(dan)劇(ju)(ju)團也改稱為溫(wen)州(zhou)地區甌劇(ju)(ju)團。

藝術特色

綜述

甌劇唱做并重(zhong)，文武(wu)兼備，以(yi)做工見(jian)長(chang)。武(wu)戲(xi)吸收(shou)民間拳術(shu)和武(wu)技，緊湊、驚(jing)險。所用語言為溫(wen)州(zhou)(zhou)官話(hua)，唯(wei)丑腳(jiao)用溫(wen)州(zhou)(zhou)方言。

唱腔

甌劇的(de)(de)音樂唱(chang)腔(qiang)由高(gao)腔(qiang)、昆腔(qiang)、亂彈(dan)、徽調、灘簧、時調等多種(zhong)(zhong)聲腔(qiang)構(gou)成(cheng)，現(xian)代甌劇以唱(chang)亂彈(dan)腔(qiang)為主，兼唱(chang)他腔(qiang)。一劇中(zhong)兼唱(chang)幾(ji)種(zhong)(zhong)不(bu)同聲腔(qiang)，表演(yan)上已形成(cheng)統(tong)一的(de)(de)藝術風格，具有(you)樸素(su)、明快、粗獷而細膩的(de)(de)特點。傳統(tong)曲牌有(you)一千多支。因長(chang)期(qi)活(huo)動(dong)于農村山鄉，表演(yan)上生活(huo)氣(qi)息濃厚，形式上格律不(bu)嚴。

甌劇(ju)的高(gao)腔(qiang)，音(yin)(yin)樂結構(gou)為曲牌聯(lian)套體，僅以鑼(luo)鼓助節，無管(guan)弦樂器伴(ban)(ban)奏(zou)（個別劇(ju)目，如《磨房(fang)串戲》和《循環報》中，有一(yi)段有管(guan)弦伴(ban)(ban)奏(zou)）。演出時，一(yi)人獨唱，眾人幫腔(qiang)，音(yin)(yin)調(diao)高(gao)亢，風(feng)格粗獷。不少(shao)曲牌頻繁使用宮調(diao)交(jiao)替(ti)和轉換手法，形成特(te)有風(feng)格。

亂彈

甌(ou)劇的(de)亂(luan)彈(dan)(dan)，分為(wei)正(zheng)(zheng)亂(luan)彈(dan)(dan)和反(fan)(fan)亂(luan)彈(dan)(dan)兩種，均(jun)為(wei)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)變(bian)化體 結構(gou)。定調(diao)(diao)(diao)正(zheng)(zheng)、反(fan)(fan)相差5度，各(ge)有(you)(you)原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、疊板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、流(liu)(liu)水和起板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、抽板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、煞板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)等(deng)(deng)變(bian)化，并有(you)(you)“洛梆(bang)子”、“二漢”等(deng)(deng)其他(ta)曲調(diao)(diao)(diao)。亂(luan)彈(dan)(dan)腔(qiang)曲調(diao)(diao)(diao)華彩，優美動聽，由(you)于(yu)(yu)用(yong)中(zhong)原(yuan)(yuan)音(yin)韻(yun)結合溫(wen)州方言演(yan)唱(chang)(chang)(chang)(chang)，唱(chang)(chang)(chang)(chang)腔(qiang)具(ju)有(you)(you)地(di)方特色。在(zai)(zai)甌(ou)劇“正(zheng)(zheng)宗”的(de)傳統亂(luan)彈(dan)(dan)大(da)(da)戲中(zhong)，大(da)(da)都唱(chang)(chang)(chang)(chang)正(zheng)(zheng)亂(luan)彈(dan)(dan)。故正(zheng)(zheng)亂(luan)彈(dan)(dan)一向被稱為(wei)“祖音(yin)源流(liu)(liu)”或“主音(yin)源流(liu)(liu)”。它與(yu)當地(di)民間音(yin)樂有(you)(you)明(ming)顯聯系(xi)。作為(wei)亂(luan)彈(dan)(dan)腔(qiang)基本板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)腔(qiang)之一的(de)“原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)”為(wei)上(shang)下句結構(gou)，明(ming)亮(liang)剛健，可(ke)變(bian)性大(da)(da)，既可(ke)表現歡快(kuai)感情(qing)，又能抒(shu)發低沉的(de)情(qing)緒。反(fan)(fan)調(diao)(diao)(diao)原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)在(zai)(zai)節(jie)奏與(yu)結構(gou)上(shang)，與(yu)正(zheng)(zheng)調(diao)(diao)(diao)原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)相似，僅較(jiao)正(zheng)(zheng)調(diao)(diao)(diao)原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)平柔委婉，調(diao)(diao)(diao)式(shi)也不同。正(zheng)(zheng)、反(fan)(fan)原(yuan)(yuan)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)，均(jun)可(ke)單(dan)獨(du)演(yan)唱(chang)(chang)(chang)(chang)，也常(chang)與(yu)疊板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)、流(liu)(liu)水等(deng)(deng)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)聯結使(shi)用(yong)。正(zheng)(zheng)流(liu)(liu)水板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)是氣氛喧囂，適宜于(yu)(yu)悲(bei)哀(ai)的(de)感情(qing)，可(ke)單(dan)獨(du)使(shi)用(yong)，亦可(ke)與(yu)其他(ta)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)式(shi)作聯接。流(liu)(liu)水板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)與(yu)緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)旋(xuan)律基本相同，緊(jin)板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)以(yi)散板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)形式(shi)演(yan)唱(chang)(chang)(chang)(chang)，流(liu)(liu)水板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)以(yi)1/4節(jie)拍快(kuai)速演(yan)唱(chang)(chang)(chang)(chang)。在(zai)(zai)演(yan)唱(chang)(chang)(chang)(chang)中(zhong)，伴以(yi)大(da)(da)鑼大(da)(da)鼓。反(fan)(fan)流(liu)(liu)水板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)的(de)唱(chang)(chang)(chang)(chang)腔(qiang)結構(gou)和演(yan)唱(chang)(chang)(chang)(chang)方法與(yu)正(zheng)(zheng)流(liu)(liu)水板(ban)(ban)(ban)(ban)(ban)(ban)(ban)(ban)同，但比前(qian)者激越高亢。

音樂

甌(ou)劇音樂樸(pu)素、明(ming)快、流暢(chang)，表現力很強，能細致地表達各種人物內心復(fu)雜感情。

語言

甌劇語(yu)音(yin)(yin)(yin)是溫州(zhou)方言加中州(zhou)韻。俗稱(cheng)“亂彈白”或“書(shu)面溫語(yu)”（溫州(zhou)官話）。旦角以(yi)(yi)假(jia)嗓(sang)（又稱(cheng)陽喉(hou)）為主(zhu)，真假(jia)聲結合；小(xiao)生則以(yi)(yi)真假(jia)嗓(sang)結合，以(yi)(yi)本(ben)嗓(sang)為主(zhu)，謂(wei)之(zhi)“子(zi)母喉(hou)”（也(ye)叫雌雄喉(hou)，陰陽喉(hou)）；大花多用(yong)咋音(yin)(yin)(yin)；老(lao)生、老(lao)旦用(yong)本(ben)嗓(sang)；老(lao)生多用(yong)“堂音(yin)(yin)(yin)”、“虎(hu)音(yin)(yin)(yin)”，老(lao)旦多用(yong)腦后音(yin)(yin)(yin)。

樂器

伴奏(zou)樂(le)器(qi)，以笛子為(wei)正(zheng)吹，板(ban)胡（舊稱“副(fu)吹”）為(wei)主要伴奏(zou)樂(le)器(qi)。此外，尚(shang)有琵琶、三弦、月琴(qin)、揚琴(qin)、二(er)胡、中胡、大胡、笙、簫(xiao)、嗩(suo)吶、長(chang)號、蘆管、牛(niu)筋琴(qin)等。

曲牌

甌劇(ju)的廣場曲(qu)牌(pai)有絲竹曲(qu)和嗩吶曲(qu)兩種(zhong)。多(duo)能(neng)伴(ban)以各種(zhong)鑼(luo)鼓，富有地方色彩。其中〔什錦(jin)頭通(tong)(tong)〕、〔西皮頭通(tong)(tong)〕、〔一(yi)封書〕，為甌劇(ju)著名的“三大頭通(tong)(tong)”。

表演

甌劇的(de)(de)(de)(de)表(biao)演，唱(chang)(chang)做(zuo)并重，以(yi)(yi)做(zuo)功見長(chang)。如小(xiao)(xiao)生可分窮生戲、風雅戲、花(hua)(hua)(hua)戲、箭袍戲、雌(ci)雄(xiong)戲、（童生）戲、胡子戲。在《陳(chen)(chen)州擂(lei)》、《玉麒麝》等劇中(zhong)，翻撲跌(die)打，一應俱(ju)全。小(xiao)(xiao)旦(dan)(dan)有(you)悲(bei)、花(hua)(hua)(hua)、潑、癲、唱(chang)(chang)、武 等六類戲；花(hua)(hua)(hua)旦(dan)(dan)須兼(jian)演刀馬旦(dan)(dan)，有(you)時(shi)還要(yao)反串武小(xiao)(xiao)生，如《哪咤鬧海》中(zhong)的(de)(de)(de)(de)哪咤，是花(hua)(hua)(hua)旦(dan)(dan)的(de)(de)(de)(de)重頭(tou)戲。二花(hua)(hua)(hua)兼(jian)演武花(hua)(hua)(hua)臉(lian)，如：《紫陽觀》中(zhong)杜(du)青，要(yao)有(you)“飛(fei)腿(tui)”、“倒(dao)爬”、“水雞(ji)步(bu)”、“虎跳”等武功表(biao)演。此外，如小(xiao)(xiao)生的(de)(de)(de)(de)“麻雀步(bu)”；旦(dan)(dan)腳(jiao)(jiao)的(de)(de)(de)(de)“寸(cun)步(bu)”、“跌(die)步(bu)”、“三腳(jiao)(jiao)”以(yi)(yi)及(ji)小(xiao)(xiao)花(hua)(hua)(hua)的(de)(de)(de)(de)“踢球(qiu)”、“飛(fei)鑼”、帽功、扇(shan)功等，均有(you)獨(du)(du)到(dao)之(zhi)處。由(you)于(yu)甌劇長(chang)期活動(dong)于(yu)農村，表(biao)演具(ju)有(you)樸(pu)素，明快和(he)粗獷的(de)(de)(de)(de)風格(ge)。甌劇的(de)(de)(de)(de)武戲，更(geng)具(ju)獨(du)(du)特風格(ge)，吸收民(min)間拳術而成的(de)(de)(de)(de)“打短(duan)手”、“手面跟頭(tou)”，演員(yuan)赤(chi)手空(kong)拳，互相搏斗，時(shi)翻時(shi)跌(die)，動(dong)作(zuo)緊湊(cou)。“打臺面”中(zhong)的(de)(de)(de)(de)“上高”、“脫圈”、“銜蛋(dan)”等技(ji)巧(qiao)，亦頗驚險(xian)。其它(ta)如三節棍、梅花(hua)(hua)(hua)棍、對于(yu)連環（即“藤(teng)牌陳(chen)(chen)”）等武技(ji)，均頗有(you)特色。其他表(biao)演特技(ji)如《神州擂(lei)》的(de)(de)(de)(de)箭，《火焰山》的(de)(de)(de)(de)扇(shan)，《北湖(hu)州》的(de)(de)(de)(de)叉，《打店》的(de)(de)(de)(de)枷，以(yi)(yi)及(ji)小(xiao)(xiao)生的(de)(de)(de)(de)“麻雀步(bu)”、旦(dan)(dan)腳(jiao)(jiao)的(de)(de)(de)(de)“寸(cun)步(bu)”、“跌(die)步(bu)”、“三腳(jiao)(jiao)步(bu)”，青衣的(de)(de)(de)(de)“背尸”等，都具(ju)特色。

角色行當

甌劇在(zai)清(qing)光緒以前，只有“上四腳(jiao) ”（生(sheng)(sheng)、旦(dan)(dan)(dan)、凈、丑）和(he)“下四腳(jiao)”（外、貼、副、末(mo)）八個腳(jiao)色；清(qing)光緒以后(hou)，隨著劇目發(fa)展的需要(yao)，行當(dang)越分(fen)越細，發(fa)展為三堂十六腳(jiao)，即白臉堂：小(xiao)生(sheng)(sheng)、正(zheng)生(sheng)(sheng)、老(lao)外、武生(sheng)(sheng)、四白臉；旦(dan)(dan)(dan)堂：當(dang)學旦(dan)(dan)(dan)、正(zheng)旦(dan)(dan)(dan)、花(hua)旦(dan)(dan)(dan)、老(lao)旦(dan)(dan)(dan)、三手旦(dan)(dan)(dan)、拜堂旦(dan)(dan)(dan)（小(xiao)旦(dan)(dan)(dan)）；花(hua)臉堂：大花(hua)、二花(hua)、四花(hua)、小(xiao)花(hua)、武大花(hua)。

生行

初(chu)時甌劇角(jiao)(jiao)色以生(sheng)(sheng)(sheng)(sheng)(sheng)為(wei)(wei)(wei)(wei)(wei)主，稱為(wei)(wei)(wei)(wei)(wei)正生(sheng)(sheng)(sheng)(sheng)(sheng)，扮(ban)演(yan)(yan)(yan)中(zhong)(zhong)、青(qing)年(nian)男(nan)子。外(wai)（老(lao)(lao)外(wai)），系“生(sheng)(sheng)(sheng)(sheng)(sheng)外(wai)之生(sheng)(sheng)(sheng)(sheng)(sheng)”，專扮(ban)演(yan)(yan)(yan)老(lao)(lao)年(nian)男(nan)子；末(mo)為(wei)(wei)(wei)(wei)(wei)“生(sheng)(sheng)(sheng)(sheng)(sheng)之末(mo)”，扮(ban)演(yan)(yan)(yan)中(zhong)(zhong)、老(lao)(lao)年(nian)男(nan)子中(zhong)(zhong)的(de)(de)(de)配角(jiao)(jiao)；小(xiao)(xiao)(xiao)生(sheng)(sheng)(sheng)(sheng)(sheng)原只扮(ban)演(yan)(yan)(yan)青(qing)年(nian)男(nan)子的(de)(de)(de)配角(jiao)(jiao)，生(sheng)(sheng)(sheng)(sheng)(sheng)行(xing)(xing)(xing)一般俊扮(ban)不涂花臉(lian)，故又(you)稱“白面(mian)堂(tang)”，但(dan)也有少數開花臉(lian)的(de)(de)(de)戲。生(sheng)(sheng)(sheng)(sheng)(sheng)行(xing)(xing)(xing)早期(qi)尚有小(xiao)(xiao)(xiao)外(wai)、小(xiao)(xiao)(xiao)末(mo)等(deng)腳色，亦即后來(lai)的(de)(de)(de)“四白臉(lian)”，是生(sheng)(sheng)(sheng)(sheng)(sheng)中(zhong)(zhong)扮(ban)演(yan)(yan)(yan)次而又(you)次角(jiao)(jiao)色者。清中(zhong)(zhong)葉以后，亂彈、皮簧勃興，描寫男(nan)女(nv)愛情婚姻(yin)的(de)(de)(de)戲增多，小(xiao)(xiao)(xiao)生(sheng)(sheng)(sheng)(sheng)(sheng)由次要(yao)變為(wei)(wei)(wei)(wei)(wei)主要(yao)，正生(sheng)(sheng)(sheng)(sheng)(sheng)成為(wei)(wei)(wei)(wei)(wei)老(lao)(lao)生(sheng)(sheng)(sheng)(sheng)(sheng)的(de)(de)(de)專稱。自(zi)此(ci)，生(sheng)(sheng)(sheng)(sheng)(sheng)行(xing)(xing)(xing)基(ji)本(ben)上形(xing)成小(xiao)(xiao)(xiao)生(sheng)(sheng)(sheng)(sheng)(sheng)、老(lao)(lao)生(sheng)(sheng)(sheng)(sheng)(sheng)、老(lao)(lao)外(wai)、副末(mo)四行(xing)(xing)(xing)當的(de)(de)(de)格局。但(dan)仍無文武之分(fen)，要(yao)求演(yan)(yan)(yan)員文武不擋(dang)，做打(da)皆精(jing)。生(sheng)(sheng)(sheng)(sheng)(sheng)行(xing)(xing)(xing)的(de)(de)(de)唱(chang)(chang)法，老(lao)(lao)生(sheng)(sheng)(sheng)(sheng)(sheng)用(yong)“堂(tang)喉”（本(ben)嗓），講究(jiu)嗓音(yin)渾奪取明(ming)亮，吐字清楚，噴(pen)口(kou)有力，有的(de)(de)(de)則(ze)用(yong)“小(xiao)(xiao)(xiao)堂(tang)喉”（高音(yin)區運用(yong)假嗓），有的(de)(de)(de)腔句(ju)往往翻高八度演(yan)(yan)(yan)唱(chang)(chang)（如(ru)〔撥子〕翻高，稱為(wei)(wei)(wei)(wei)(wei)“撥子高唱(chang)(chang)”），聽(ting)來(lai)飄逸洪亮，別(bie)具(ju)一格。老(lao)(lao)外(wai)均用(yong)堂(tang)喉，講究(jiu)嗓音(yin)蒼勁渾厚，以聲如(ru)洪鐘者為(wei)(wei)(wei)(wei)(wei)佳(jia)。副末(mo)亦同(tong)。小(xiao)(xiao)(xiao)生(sheng)(sheng)(sheng)(sheng)(sheng)原用(yong)“雌雄(xiong)喉”（真假嗓并用(yong)，轉折明(ming)顯），演(yan)(yan)(yan)唱(chang)(chang)中(zhong)(zhong)能結合(he)和諧(xie)者甚少，自(zi)有女(nv)小(xiao)(xiao)(xiao)生(sheng)(sheng)(sheng)(sheng)(sheng)后，真假嗓運用(yong)始自(zi)然優美(mei)。

花臉行

甌劇很早就形成大(da)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（凈(jing)）、二花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（副）、三花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（即小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)，丑）、四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)等(deng)四(si)色(se)(se)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)的(de)格局(ju)，后期由于(yu)角色(se)(se)增(zeng)(zeng)多(duo)(duo)，開始(shi)增(zeng)(zeng)添(tian)一些花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)腳色(se)(se)，如 “武(wu)大(da)花(hua)(hua)(hua)(hua)(hua)”等(deng)。大(da)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)所扮(ban)演的(de)角色(se)(se)較(jiao)(jiao)多(duo)(duo)，有(you)忠(zhong)有(you)奸(jian)，有(you)正(zheng)有(you)反(fan)，上至(zhi)(zhi)帝王權貴(gui)，下至(zhi)(zhi)乞兒龜奴(nu)，幾(ji)乎無其不有(you)。若以其所抹花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)區分(fen)，計有(you)紅、黑、白(bai)、花(hua)(hua)(hua)(hua)(hua)四(si)類。紅臉(lian)(lian)(lian)(lian)(lian)(lian)多(duo)(duo)為(wei)英勇忠(zhong)義之(zhi)士，黑臉(lian)(lian)(lian)(lian)(lian)(lian)多(duo)(duo)為(wei)憨直剛毅之(zhi)人，白(bai)臉(lian)(lian)(lian)(lian)(lian)(lian)多(duo)(duo)為(wei)奸(jian)刁卑俗之(zhi)徒，花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（雜色(se)(se)臉(lian)(lian)(lian)(lian)(lian)(lian)）多(duo)(duo)為(wei)兇殘邪惡之(zhi)輩(bei)。二花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)介于(yu)凈(jing)、丑之(zhi)間，亦(yi)凈(jing)亦(yi)丑，亦(yi)文亦(yi)武(wu)，二花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（副）擅(shan)飾憨厚蠢笨的(de)角色(se)(se)。小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)（丑），舊俗在戲(xi)班(ban)中(zhong)地位最高(gao)，能代表老(lao)郎（戲(xi)神）在班(ban)中(zhong)執法。其扮(ban)演的(de)角色(se)(se)，忠(zhong)奸(jian)善惡，男女老(lao)少，且(qie)文武(wu)不擋，無所不包。小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)亦(yi)兼演彩旦，如《碧(bi)桃(tao)花(hua)(hua)(hua)(hua)(hua)》中(zhong)的(de)牢婆，《牡(mu)丹記(ji)》中(zhong)的(de)皮氏等(deng)。四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)，為(wei)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)行(xing)的(de)次(ci)要(yao)腳色(se)(se)，如《水擒龐(pang)德(de)》中(zhong)，大(da)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)飾關羽，二花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)飾周(zhou)倉，四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)則(ze)(ze)飾龐(pang)德(de)；《碧(bi)桃(tao)花(hua)(hua)(hua)(hua)(hua)》中(zhong)小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)飾牢婆，四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)則(ze)(ze)飾配角牢頭。四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)在較(jiao)(jiao)多(duo)(duo)戲(xi)中(zhong)則(ze)(ze)扮(ban)演奴(nu)仆、家將、皂吏(li)、報子之(zhi)類。大(da)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)唱念均用大(da)嗓，不僅要(yao)求聲音(yin)洪亮(liang)，而且(qie)要(yao)有(you)翻(fan)滾(gun)(gun)之(zhi)聲，因聲如滾(gun)(gun)雷(lei)隆隆和巨浪翻(fan)騰，稱(cheng)為(wei)“滾(gun)(gun)喉(hou)”，亦(yi)稱(cheng)“水底翻(fan)”。小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)用“堂喉(hou)”（真嗓），但說(shuo)白(bai)常用“子喉(hou)”（假嗓）與“堂喉(hou)”結合，有(you)時突(tu)然翻(fan)高(gao)八度(du)，以增(zeng)(zeng)強(qiang)風趣(qu)詼諧(xie)的(de)效(xiao)果。二花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)用嗓近(jin)于(yu)大(da)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)，四(si)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)則(ze)(ze)與小(xiao)(xiao)花(hua)(hua)(hua)(hua)(hua)臉(lian)(lian)(lian)(lian)(lian)(lian)接近(jin)。

旦行

早時只(zhi)有旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)（正(zheng)(zheng)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)）、貼(tie)(tie)(tie)（亦稱(cheng)作旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)）、夫（老旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)）和小(xiao)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)四(si)色(se)，正(zheng)(zheng)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)與(yu)正(zheng)(zheng)生(sheng)(sheng)相(xiang)(xiang)配為(wei)男女(nv)(nv)主(zhu)(zhu)(zhu)角(jiao)。清中(zhong)(zhong)葉后，正(zheng)(zheng)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)的地(di)位為(wei)花(hua)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)所代替，與(yu)小(xiao)生(sheng)(sheng)相(xiang)(xiang)配，成(cheng)(cheng)為(wei)男女(nv)(nv)主(zhu)(zhu)(zhu)角(jiao)，正(zheng)(zheng)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)則(ze)成(cheng)(cheng)為(wei)專飾中(zhong)(zhong)年(nian)婦女(nv)(nv)的配角(jiao)。后因(yin)武(wu)戲增多(duo)(duo)，又(you)添“武(wu)小(xiao)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”一(yi)色(se)。清末(mo)以后，旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)戲增加(jia)，各劇種又(you)都增添了(le)“三(san)手(shou)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”（或稱(cheng)“三(san)梁(liang)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”）一(yi)色(se)；使旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)行多(duo)(duo)至七個腳色(se)。花(hua)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)專演(yan)年(nian)青(qing)女(nv)(nv)子(zi)，唱(chang)做俱重(zhong)，文武(wu)兼能(neng)。因(yin)其(qi)在許多(duo)(duo)戲中(zhong)(zhong)挑大梁(liang)；因(yin)而(er)有人(ren)稱(cheng)之(zhi)為(wei)“大梁(liang)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”、“當家(jia)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”。貼(tie)(tie)(tie)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)亦稱(cheng)作旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)，亦扮演(yan)年(nian)青(qing)女(nv)(nv)子(zi)，常(chang)(chang)為(wei)花(hua)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)之(zhi)配角(jiao)，故(gu)有人(ren)稱(cheng)之(zhi)為(wei)“二梁(liang)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”。但貼(tie)(tie)(tie)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)專工唱(chang)，花(hua)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)更(geng)重(zhong)做，故(gu)貼(tie)(tie)(tie)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)仍有其(qi)所長和特色(se)。如(ru)《西廂記》中(zhong)(zhong)花(hua)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)飾紅娘(niang)，貼(tie)(tie)(tie)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)則(ze)飾崔鶯鶯。正(zheng)(zheng)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)主(zhu)(zhu)(zhu)要(yao)演(yan)中(zhong)(zhong)年(nian)婦女(nv)(nv)，還常(chang)(chang)兼演(yan)次要(yao)小(xiao)生(sheng)(sheng)，武(wu)小(xiao)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)專演(yan)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)腳武(wu)打戲，如(ru)《打店》中(zhong)(zhong)的孫(sun)二娘(niang)，《白蛇傳》中(zhong)(zhong)的小(xiao)青(qing)等。老旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)專演(yan)老年(nian)婦人(ren)，有時兼演(yan)其(qi)它(ta)角(jiao)色(se)。三(san)梁(liang)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)（三(san)手(shou)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)）為(wei)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)腳中(zhong)(zhong)次而(er)又(you)次者，常(chang)(chang)演(yan)一(yi)些丫鬟(huan)、宮(gong)女(nv)(nv)等角(jiao)色(se)。小(xiao)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)因(yin)每(mei)戲結尾(wei)大團圓時，常(chang)(chang)頭披紅巾充新娘(niang)拜堂(tang)(tang)，故(gu)又(you)稱(cheng)“拜堂(tang)(tang)旦(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)(dan)”，多(duo)(duo)由學(xue)徒擔任。

臉譜

甌劇臉(lian)(lian)譜，既雷(lei)同(tong)于兄弟劇種，又有(you)別于他者，是同(tong)中有(you)異。其臉(lian)(lian)譜譜式，名目(mu)繁多，名稱各異，在甌劇中，大體上是： [3]

三塊(kuai)瓦臉(lian)（ 北方稱“三塊(kuai)窩”）：基本特征是將臉(lian)較明顯分(fen)為(wei)三“塊(kuai)”故名。金臉(lian)：多為(wei)神佛(fo)(fo)，如：如來佛(fo)(fo)、雷公等。

花臉(lian)：如張飛(fei)、牛皋(gao)、司馬師等；甌劇中(zhong)還有個巾幗英雄(xiong)畫(hua)花臉(lian)，即《四國齊》中(zhong)的鐘離春。

歪(wai)臉：如(ru)鄭(zheng)子(zi)明（因狩獵被熊所傷傷，臉留爪痕）。

陰陽(yang)臉：如《鳳臺關》中的(de)胡福，譜式為半邊(bian)青半邊(bian)白，連髯口也黑白各半，陰陽(yang)分明。

動(dong)物臉：如孫悟空(kong)、金錢豹、婁阿(a)鼠以及《鐵(tie)桶城》中臉畫青蛙的(de)黃模等。

碎花臉：其(qi)特(te)點為勾圖繁碎而(er)復(fu)雜，如《馬武奪(duo)魁》中的(de)馬武等。

文字臉(lian)：特(te)點是在額上畫(hua)出鮮(xian)明(ming)文字，如(ru)《盜金鈴》中(zhong)的(de)竇一虎，文字臉(lian)：特(te)點是在額上畫(hua)出鮮(xian)明(ming)文字，如(ru)《盜金鈴》中(zhong)的(de)竇一虎，額頭畫(hua)一草體“虎”字；《雙救駕》中(zhong)的(de)吳漢(han)，于額頭畫(hua)一正楷“孝”字。

附（加(jia)）件(jian)臉(lian)：　從儺舞面具的衍化脫(tuo)變或改良，除勾(gou)畫外，并局(ju)部(bu)(bu)借助于額(e)頭、鼻子或下(xia)顎等處(chu)的附加(jia)部(bu)(bu)件(jian)，以改變和(he)突顯某些局(ju)部(bu)(bu)部(bu)(bu)位。

豆腐(fu)塊臉 （俗稱“白鼻頭(tou)”）：多用于小花臉（丑(chou)）行之正、反面人物。

臉(lian)譜(pu)(pu)譜(pu)(pu)式豐富多(duo)樣、用色變(bian)(bian)化絢麗、手法(fa)巧(qiao)妙，堪稱中(zhong)國戲曲藝術一(yi)絕。而所有這(zhe)些臉(lian)譜(pu)(pu)，都必須與髯口(kou)、盔甲(jia)、服裝、鞋(xie)靴乃至道具(ju)等(deng)綜(zong)合配“套(tao)”，才形成完美的(de)藝術統(tong)一(yi)體；同(tong)時，又往(wang)往(wang)于特定人(ren)物的(de)特定人(ren)物的(de)特定時間、特定事件，以(yi)及身份、年齡(ling)和地位的(de)變(bian)(bian)化分不開，并伴隨(sui)著(zhu)變(bian)(bian)化而變(bian)(bian)化著(zhu)。臉(lian)譜(pu)(pu)具(ju)有傳(chuan)神、夸張(zhang)、寓意、裝飾和褒貶(bian)、懲惡揚善(shan)的(de)功(gong)能。

粉白(bai)臉 （白(bai)臉的別稱）：如曹(cao)操、張邦昌、嚴嵩等權貴佞臣。

紅(hong)臉：多為正面人物、忠臣良賢(xian)，如關云(yun)長、趙匡胤等。

黑臉：忠臣賢相等(deng)正面人物，如包(bao)拯。

傳承現狀

陳茶花

女，1931年2月生(sheng)，溫州(zhou)市(shi)人。甌(ou)劇(ju)(ju)老一代(dai)(dai)著(zhu)名表(biao)演藝(yi)術家(jia)。出生(sheng)于梨(li)園(yuan)世家(jia)。12歲因生(sheng)活所迫開始學藝(yi)，解放前先(xian)后(hou)(hou)在(zai)“新(xin)鳳(feng)玉”亂(luan)彈班習藝(yi)，其后(hou)(hou)又(you)入“大(da)高星”、“勝福連”、“新(xin)陽春”、“新(xin)紅玉”等班社(she)從藝(yi)。解放后(hou)(hou)，參(can)加溫州(zhou)勝利亂(luan)彈劇(ju)(ju)團，1959年更(geng)名為(wei)(wei)溫州(zhou)甌(ou)劇(ju)(ju)團，并作為(wei)(wei)劇(ju)(ju)種名稱(cheng)行于世。她(ta)長(chang)期擔任甌(ou)劇(ju)(ju)團團長(chang)，退休后(hou)(hou)仍為(wei)(wei)甌(ou)劇(ju)(ju)團顧(gu)問(wen)。她(ta)是：中(zhong)國戲劇(ju)(ju)家(jia)協會會員、浙江(jiang)劇(ju)(ju)協二、三(san)屆理(li)事(shi)、浙江(jiang)三(san)屆人大(da)代(dai)(dai)表(biao)、省六(liu)屆政協委(wei)員、省二屆文聯(lian)委(wei)員、全國第三(san)次文代(dai)(dai)會代(dai)(dai)表(biao)、溫州(zhou)市(shi)二屆文聯(lian)委(wei)員、市(shi)二屆劇(ju)(ju)協副(fu)主席(xi)，后(hou)(hou)為(wei)(wei)顧(gu)問(wen)。

數十年(nian)舞臺(tai)生涯，她先后(hou)主演(yan)了《佛(fo)靈寺》、《販馬記(ji)》、《蝴蝶杯》、《昆山縣令》、《玉簪(zan)記(ji)》、《碧玉簪(zan)》、《鐘離娘(niang)娘(niang)》、《高機與(yu)吳(wu)三(san)(san)春》及現(xian)代戲《紅梅贊》（《江(jiang)姐》）、《洪湖赤衛隊》、《送肥記(ji)》等(deng)(deng)數以(yi)百(bai)計的(de)(de)古今婦女舞臺(tai)藝術形象，最為(wei)膾(kuai)炙人口的(de)(de)《高機與(yu)吳(wu)三(san)(san)春》，被(bei)譽為(wei)浙南(nan)溫州(zhou)的(de)(de)“梁山伯與(yu)祝英(ying)臺(tai)”。1954年(nian)，以(yi)《賣綃會》一折獲華東地(di)(di)區表演(yan)三(san)(san)等(deng)(deng)獎(jiang)，她先后(hou)多次(ci)獲浙江(jiang)省、溫州(zhou)地(di)(di)、市表演(yan)一等(deng)(deng)獎(jiang)。其表演(yan)風范、演(yan)唱(chang)行(xing)腔，形成特有的(de)(de)柔美與(yu)韻味。

作為甌(ou)劇老一(yi)代表(biao)演(yan)女(nv)旦角（過(guo)去是男(nan)旦）藝術家，先后為甌(ou)劇培養的(de)學(xue)生有一(yi)級(ji)演(yan)員(yuan)翁(weng)墨珊(shan)，二(er)級(ji)演(yan)員(yuan)謝(xie)菲(fei)(fei)菲(fei)(fei)、馮彩(cai)秋及洪永娟等藝術（旦角）表(biao)演(yan)骨(gu)干(gan)，對(dui)于甌(ou)劇的(de)傳承至(zhi)關重要。

作(zuo)為團長和(he)(he)繼王(wang)蘭香之后(hou)的(de)(de)甌(ou)(ou)劇(ju)女性旦角演(yan)(yan)員(yuan)，她深(shen)惑甌(ou)(ou)劇(ju)中亂(luan)(luan)彈(dan)(dan)腔唱調，那歷(li)來男(nan)女演(yan)(yan)員(yuan)同(tong)工同(tong)調的(de)(de)舊習(xi)非改(gai)不(bu)可(ke)；因(yin)此她數十年(nian)如(ru)一日地(di)積極支持和(he)(he)配合甌(ou)(ou)劇(ju)第一代表作(zuo)曲家李(li)子(zi)敏先生對音(yin)樂(le)進(jin)行改(gai)革(ge)，經長期實踐，解決即(ji)確(que)(que)立甌(ou)(ou)劇(ju)亂(luan)(luan)彈(dan)(dan)腔唱調，在統一定(ding)調（尺字調）基(ji)礎(chu)上(shang)正，反亂(luan)(luan)彈(dan)(dan)唱調交替演(yan)(yan)唱，從(cong)而確(que)(que)立了(le)男(nan)女工唱調問(wen)題，以及（慢垛板）、（緊垛板）、（女工垛板）等新(xin)(xin)板式新(xin)(xin)腔句(ju)的(de)(de)創作(zuo)、試演(yan)(yan)（唱）的(de)(de)確(que)(que)立，都(dou)與舉足輕重的(de)(de)陳茶花為首的(de)(de)率廣大演(yan)(yan)藝人員(yuan)的(de)(de)合作(zuo)、支持密不(bu)可(ke)分。隨著時(shi)間(jian)的(de)(de)推移，將(jiang)愈加顯(xian)示其歷(li)史價(jia)值和(he)(he)意義。

孫來來

1942年1月生，溫州(zhou)市區人。國家(jia)一(yi)級演員(yuan)。曾任(ren)甌(ou)劇(ju)團(tuan)副團(tuan)長，藝術指導，是(shi)中國戲劇(ju)家(jia)協會會員(yuan)、浙(zhe)江(jiang)省(sheng)政協委員(yuan)。曾兼任(ren)浙(zhe)江(jiang)省(sheng)劇(ju)協常務理事、溫州(zhou)市劇(ju)協副主席。出身(shen)于梨園世家(jia)的孫來(lai)來(lai)，1954年入(ru)“勝利亂彈”劇(ju)團(tuan)（甌(ou)劇(ju)前身(shen)）習藝，攻(gong)武生行。

1960年在杭州(zhou)演(yan)出時，受(shou)藝術大師蓋叫天賞識并收為藝徒。四(si)十多年來，主演(yan)的(de)戲主要有：《武松(song)》中武松(song)，《打(da)店》、《獅子(zi)樓》、《蜈蚣嶺》中武松(song)，《酒(jiu)樓殺場》石(shi)秀，《北湖州(zhou)》鐵(tie)木(mu)爾，《殺金賣(mai)拳》韓生，《蝴(hu)蝶(die)杯(bei)》田玉川，《碧(bi)珠蛟龍扇(shan)》高清(qing)偉(wei)，《貂蟬(chan)》呂布，《三打(da)陶三春》高懷德(de)，《沙家浜》部建光，《智取威山》楊子(zi)榮(rong)，《紅梅贊》（《江姐(jie)》）甫志高，《英姑》盧根源(yuan)，《東海(hai)小哨兵(bing)》張排長等，古今人物形象，在城鄉中廣有影響。

1989年(nian)(nian)獲浙江中(zhong)(zhong)年(nian)(nian)演(yan)(yan)員大(da)獎(jiang)賽最佳(jia)獎(jiang)，1992年(nian)(nian)獲全國(guo)“天下(xia)第一(yi)團(tuan)”劇(ju)目展(zhan)演(yan)(yan)優秀(xiu)表演(yan)(yan)獎(jiang)，1995年(nian)(nian)攜《酒樓場(chang)》（飾石秀(xiu)）隨藝(yi)術團(tuan)赴西班牙、荷(he)蘭、比利時等國(guo)演(yan)(yan)出，獲盛譽；同年(nian)(nian)，以《獨木關》中(zhong)(zhong)薛仁貴，獲浙江省(sheng)優秀(xiu)演(yan)(yan)員獎(jiang)、省(sheng)文化廳藝(yi)委會(hui)“金(jin)藝(yi)獎(jiang)”，1997年(nian)(nian)以《酒樓殺場(chang)》獲國(guo)家(jia)文化部文華表演(yan)(yan)獎(jiang)，2002年(nian)(nian)5月，應臺(tai)(tai)(tai)灣(wan)邀請赴臺(tai)(tai)(tai)巡回演(yan)(yan)出，獲得臺(tai)(tai)(tai)灣(wan)專家(jia)觀眾(zhong)的普(pu)遍贊揚(yang)。以及溫州市(shi)金(jin)鹿獎(jiang)、百花獎(jiang)等省(sheng)市(shi)高(gao)獎(jiang)。為溫州市(shi)第二(er)輪專業技術拔尖(jian)人(ren)才，享受政(zheng)府特殊津貼。事跡編入《中(zhong)(zhong)國(guo)當代藝(yi)術界名人(ren)錄(lu)》、《中(zhong)(zhong)國(guo)文藝(yi)家(jia)傳集》等書。

方汝將

男，溫州市(shi)甌(ou)劇團當家小(xiao)生(sheng)，優(you)秀(xiu)青(qing)年(nian)演員，出(chu)生(sheng)于1977年(nian)4月8日，籍貫平(ping)陽縣(xian)敖江鎮(zhen)。

1997年(nian)以優(you)異成績畢(bi)業分配到溫州市甌(ou)劇團，是團里的主(zhu)要演員(yuan)之一。

2001年因業績顯(xian)著(zhu)，被破格評為國家三級演員(yuan)。

2001年 獲(huo)市文聯評為"希望之(zhi)星"稱號(hao)；市首屆藝術節在(zai)《仇(chou)大姑娘》中(zhong)(zhong)扮演男主角榮(rong)獲(huo)一等獎，該劇已被(bei)中(zhong)(zhong)央臺戲曲(qu)頻道列為拍攝計(ji)劃向全國(guo)播放。

2002年被任(ren)命為溫州市甌劇團副團長職務。

2006年(nian)作(zuo)為全國地方(fang)劇種的代表人(ren)物參加(jia)中央電視臺(tai)戲曲(qu)頻道《名(ming)段欣賞》開播10周年(nian)的拍(pai)攝錄制(zhi)，演(yan)(yan)出《殺狗記》片段。同(tong)年(nian)獲得溫州(zhou)第(di)(di)2屆(jie)青年(nian)演(yan)(yan)員(yuan)大賽金獎(jiang)第(di)(di)一名(ming)。同(tong)年(nian)主演(yan)(yan)《殺狗記》參加(jia)全國地方(fang)戲匯演(yan)(yan)榮(rong)獲劇目銅獎(jiang)。同(tong)年(nian)在溫州(zhou)市(shi)第(di)(di)2屆(jie)藝術節上主演(yan)(yan)《洗心記》榮(rong)獲表演(yan)(yan)一等(deng)獎(jiang)。

2012年 榮獲(huo)浙江(jiang)省首屆戲劇表(biao)演“金(jin)桂獎”。

2013年5月榮獲第26屆中國戲劇梅(mei)花獎。