清乾隆年間,贛江下游(you)的(de)(de)(de)南(nan)昌地(di)區(qu),以及贛江主支流(liu)"西河"流(liu)域的(de)(de)(de)永修(xiu)、德安、九(jiu)江、星(xing)(xing)子(zi)(zi)(zi)等(deng)(deng)縣(xian),是弋陽腔(qiang)、宜黃腔(qiang)、青(qing)陽腔(qiang)和湖北漢(han)劇(ju)頻(pin)繁(fan)活動的(de)(de)(de)地(di)區(qu)。清嘉(jia)慶年間,諸(zhu)腔(qiang)合流(liu),首先(xian)(xian)在南(nan)昌形成一種亂彈班(ban),影(ying)響甚廣。清道(dao)光年間,著(zhu)名(ming)(ming)(ming)藝人(ren)(ren)(ren)湯(tang)(tang)(tang)大(da)樂(le)(今德安縣(xian)高(gao)塘(tang)人(ren)(ren)(ren),1801年生(sheng)(sheng)),先(xian)(xian)后在南(nan)昌的(de)(de)(de)亂彈班(ban)和漢(han)口的(de)(de)(de)漢(han)劇(ju)班(ban)唱戲(xi)(xi),后載譽歸鄉,與其兄湯(tang)(tang)(tang)大(da)榮一起,在老家湯(tang)(tang)(tang)家坂組織湯(tang)(tang)(tang)家戲(xi)(xi)班(ban),排演(yan)(yan)(yan)黃皮戲(xi)(xi)。湯(tang)(tang)(tang)大(da)樂(le)與星(xing)(xing)子(zi)(zi)(zi)諸(zhu)多湯(tang)(tang)(tang)姓同(tong)族共譜,湯(tang)(tang)(tang)于(yu)道(dao)光末年至同(tong)治初年(1850-1862)來(lai)星(xing)(xing)子(zi)(zi)(zi)教戲(xi)(xi),廣收(shou)藝徒(tu),建立(li)了星(xing)(xing)子(zi)(zi)(zi)縣(xian)第一個彈腔(qiang)戲(xi)(xi)班(ban),演(yan)(yan)(yan)出劇(ju)目30余(yu)出。1874年,星(xing)(xing)子(zi)(zi)(zi)藝人(ren)(ren)(ren)周(zhou)(zhou)自(zi)秀(xiu)出任班(ban)頭,戲(xi)(xi)班(ban)定名(ming)(ming)(ming)為(wei)"青(qing)陽公主星(xing)(xing)邑(yi)義和班(ban)",簡(jian)稱"義和班(ban)"。周(zhou)(zhou)自(zi)秀(xiu),星(xing)(xing)子(zi)(zi)(zi)縣(xian)蘇(su)家擋人(ren)(ren)(ren),生(sheng)(sheng)于(yu)1844年,"自(zi)幼聰(cong)明(ming)異常,后習伶人(ren)(ren)(ren)之(zhi)業(ye),故對于(yu)古往今來(lai)之(zhi)歷史,莫不知其大(da)略,悲欣歡樂(le)之(zhi)態,盡皆(jie)形人(ren)(ren)(ren)"(摘自(zi)周(zhou)(zhou)自(zi)秀(xiu)墓志(zhi))。其子(zi)(zi)(zi)周(zhou)(zhou)招生(sheng)(sheng)"素稱良善于(yu)優伶"(摘自(zi)周(zhou)(zhou)招生(sheng)(sheng)墓志(zhi))。其孫(sun)周(zhou)(zhou)楊鑫、楊銀(yin)、楊錠(ding),"均能繼續(xu)先(xian)(xian)人(ren)(ren)(ren)之(zhi)業(ye)"(摘自(zi)周(zhou)(zhou)自(zi)秀(xiu)墓志(zhi)),后皆(jie)為(wei)西河戲(xi)(xi)名(ming)(ming)(ming)藝人(ren)(ren)(ren)和義和班(ban)骨(gu)干成員。同(tong)班(ban)人(ren)(ren)(ren)還有郭德英、劉忠化、黃以政等(deng)(deng)星(xing)(xing)子(zi)(zi)(zi)著(zhu)名(ming)(ming)(ming)藝人(ren)(ren)(ren)。當時義和班(ban)所演(yan)(yan)(yan)劇(ju)目的(de)(de)(de)《打龍蓬》、《清官冊》、《過昭關(guan)》、《三(san)關(guan)調將》、《白虎(hu)關(guan)》、《二(er)(er)進宮》等(deng)(deng)50余(yu)出大(da)本,30余(yu)出小本。唱腔(qiang)以二(er)(er)黃、西皮為(wei)主,演(yan)(yan)(yan)出多沿(yan)高(gao)腔(qiang)舊習,如:"破臺"、"放五(wu)昌"、"報臺"、"登二(er)(er)場"等(deng)(deng)。角色(se)分為(wei)十大(da)行(xing),即一末二(er)(er)凈三(san)生(sheng)(sheng)四旦五(wu)老六外七丑(chou)八貼九(jiu)小十雜。戲(xi)(xi)班(ban)除(chu)在星(xing)(xing)子(zi)(zi)(zi)本地(di)演(yan)(yan)(yan)出外,常往來(lai)于(yu)永修(xiu)、德安、九(jiu)江、都昌等(deng)(deng)地(di)(舊時多屬南(nan)康(kang)府、府治星(xing)(xing)子(zi)(zi)(zi)縣(xian)城)。因此,星(xing)(xing)子(zi)(zi)(zi)西河戲(xi)(xi)便簡(jian)稱為(wei)西河戲(xi)(xi)了。
1888年(nian)(nian)(nian)(nian),星(xing)子(zi)藝人(ren)劉郭原(星(xing)子(zi)蓼(liao)南(nan)(nan)(nan)人(ren),1856年(nian)(nian)(nian)(nian)生(sheng)(sheng)(sheng)),從(cong)"瑞祝班(ban)(ban)(ban)(ban)"歸來(lai)(lai)加入義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban),并繼周(zhou)自(zi)(zi)秀(xiu)出(chu)(chu)任班(ban)(ban)(ban)(ban)頭(tou)。1889年(nian)(nian)(nian)(nian),星(xing)子(zi)藝人(ren)湯(tang)(tang)再樹(星(xing)子(zi)溫(wen)泉人(ren),1864年(nian)(nian)(nian)(nian)生(sheng)(sheng)(sheng)),從(cong)湖北"漢(han)班(ban)(ban)(ban)(ban)"回(hui)來(lai)(lai)加入義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)。1919年(nian)(nian)(nian)(nian),星(xing)子(zi)藝人(ren)萬(wan)正榜(bang)(星(xing)子(zi)蓼(liao)花人(ren),1891年(nian)(nian)(nian)(nian)生(sheng)(sheng)(sheng))自(zi)(zi)景德鎮"串(chuan)堂(tang)班(ban)(ban)(ban)(ban)"回(hui)來(lai)(lai)入班(ban)(ban)(ban)(ban)。這(zhe)些(xie)老(lao)人(ren)"雖(sui)英(ying)年(nian)(nian)(nian)(nian)家寒(han),在外(wai)飲(yin)午(wu)",然"天資敏(min)捷(jie),才(cai)智過人(ren),能演(yan)古(gu),能排劇"(摘自(zi)(zi)湯(tang)(tang)再樹墓(mu)志(zhi))。他(ta)們從(cong)外(wai)地(di)(di)帶(dai)來(lai)(lai)新的劇目,改造了(le)一批(pi)老(lao)唱(chang)(chang)腔,如將(jiang)西皮(pi)頂板(ban)(板(ban)頭(tou)起(qi)唱(chang)(chang))改為(wei)(wei)器板(ban)(即(ji)第三眼起(qi)唱(chang)(chang)),大大豐(feng)富了(le)西河戲的藝術。星(xing)子(zi)其他(ta)職(zhi)業藝人(ren)英(ying)才(cai)輩出(chu)(chu),群芳濟濟,義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)迅速擴大。1910年(nian)(nian)(nian)(nian),義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)出(chu)(chu)于繁忙(mang)演(yan)出(chu)(chu)的需要,分為(wei)(wei)南(nan)(nan)(nan)北兩(liang)班(ban)(ban)(ban)(ban)。北班(ban)(ban)(ban)(ban)由湯(tang)(tang)再樹領班(ban)(ban)(ban)(ban),南(nan)(nan)(nan)班(ban)(ban)(ban)(ban)由周(zhou)招生(sheng)(sheng)(sheng)領班(ban)(ban)(ban)(ban),基(ji)地(di)(di)分別(bie)設于溫(wen)泉和(he)(he)蘇家擋。義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)自(zi)(zi)1910年(nian)(nian)(nian)(nian)分班(ban)(ban)(ban)(ban),1924年(nian)(nian)(nian)(nian)合(he)班(ban)(ban)(ban)(ban)至1937年(nian)(nian)(nian)(nian)抗日戰爭爆發。前后(hou)共(gong)27年(nian)(nian)(nian)(nian),是義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)鼎(ding)盛時期。班(ban)(ban)(ban)(ban)里有眾(zhong)多優秀(xiu)藝人(ren),先后(hou)有11名藝人(ren)獲獎掛(gua)牌14次。當地(di)(di)有故事傳說,譽(yu)稱周(zhou)招生(sheng)(sheng)(sheng)、萬(wan)正榜(bang)、湯(tang)(tang)再樹、劉敦(dun)(dun)厚、梅傳信為(wei)(wei)"夜(ye)皇帝"、"夜(ye)沙帽(mao)"、"夜(ye)官"、"戲柜"、"全國(guo)三個半乖人(ren)"中的"半個"。義(yi)(yi)和(he)(he)班(ban)(ban)(ban)(ban)除在本縣參加各種廟會(hui)、祠(ci)堂(tang)、擂臺演(yan)出(chu)(chu)外(wai),不(bu)斷往(wang)來(lai)(lai)于德安、永修、九江、都昌等地(di)(di)巡回(hui)演(yan)出(chu)(chu)。長年(nian)(nian)(nian)(nian)"南(nan)(nan)(nan)征北戰"、"東奔西馳"而"在外(wai)飲(yin)午(wu)"。所(suo)演(yan)之處,"人(ren)皆津(jin)津(jin)樂道(dao)以(yi)為(wei)(wei)快"(分別(bie)摘自(zi)(zi)湯(tang)(tang)大榮、劉敦(dun)(dun)厚、周(zhou)自(zi)(zi)秀(xiu)墓(mu)志(zhi))。
義(yi)和班發達之時,民間業(ye)余(yu)演(yan)出(chu)(chu)也方興(xing)未艾。各地除(chu)增修(xiu)大(da)(da)量戲(xi)臺(tai)外(wai),村村供奉樂(le)王(wang)(wang)(wang)菩(pu)薩(sa),每年8月28日(ri)做(zuo)樂(le)王(wang)(wang)(wang)會,祭祀戲(xi)神(shen)。每逢年節,村村聘請(qing)戲(xi)師(shi),教戲(xi)排劇。是時,鳴炮開臺(tai),鑼鼓管(guan)弦,通宵達旦,數日(ri)不絕。這些"徒弟戲(xi)"也大(da)(da)多遵循義(yi)和班習規,如立(li)樂(le)王(wang)(wang)(wang)位、丑(chou)角開臉、藝人破臺(tai),第一出(chu)(chu)報臺(tai),第二出(chu)(chu)登場,末晚演(yan)"福戲(xi)"圓臺(tai)等等。
星子西河戲在20世紀六、七(qi)十(shi)年(nian)代受到(dao)限(xian)制,改革開放以后得到(dao)恢復和發(fa)展。劇本(ben)基本(ben)上是從(cong)中(zhong)國其他傳統劇目改編(bian)而來,演出人員(yuan)及樂隊都是當地的中(zhong)青年(nian)農民(min)。2010年(nian),西河戲入選第三批國家級非(fei)物質(zhi)文化遺產名錄,傳統戲劇項目類別(bie),序(xu)號7。
1945年,抗(kang)日戰爭勝利,縣政(zheng)(zheng)府從都(dou)昌(chang)遷(qian)回星子。8月,義(yi)和班(ban)在縣城(cheng)舊府堂門(men)前戲(xi)(xi)(xi)臺上(shang)演(yan)西河戲(xi)(xi)(xi)3天,以示慶祝。上(shang)演(yan)節(jie)目有(you)《大審玉(yu)堂春》等戲(xi)(xi)(xi)。以后西河戲(xi)(xi)(xi)活(huo)動(dong)得以逐漸恢復。但舊政(zheng)(zheng)府不(bu)求圖治,卻忙于征兵、勘亂(luan)、競選(xuan),甚至忙于禁戲(xi)(xi)(xi)。其理由是(shi)"近幾來各鄉間(jian)游手(shou)好閑者,恒多(duo)演(yan)戲(xi)(xi)(xi)集賭(du),小則(ze)傾家蕩產(chan),大則(ze)流于匪盜,影響社會(hui),良非淺鮮(xian)。"城(cheng)門(men)失火,殃及池(chi)魚,一有(you)賭(du)情(qing),則(ze)拆除戲(xi)(xi)(xi)臺、扣壓戲(xi)(xi)(xi)師(shi)。"倘有(you)循私(si)包庇者,撤職查辦"。"如有(you)反抗(kang)各等情(qing)況",立即(ji)鎮壓(摘自舊政(zheng)(zheng)府告(gao)示)。1949年,解(jie)放軍(jun)入境,舊政(zheng)(zheng)府卷席而逃。1950年,義(yi)和班(ban)解(jie)散。?
1937年(nian)抗日(ri)戰(zhan)爭(zheng)(zheng)開始,鄱陽(yang)湖(hu)域處于(yu)戰(zhan)爭(zheng)(zheng)狀態,危及(ji)沿(yan)湖(hu)一帶城鎮。西(xi)河戲(xi)活(huo)動,也(ye)從沿(yan)海地區向內(nei)地轉(zhuan)(zhuan)移。星(xing)子以華林為中心的廬山南麓各鄉(xiang),業余(yu)(yu)演出仍很興盛,義和班也(ye)多(duo)在這一帶活(huo)動,華林有名藝(yi)人20余(yu)(yu)名,占(zhan)當(dang)時(shi)(shi)全(quan)部藝(yi)人五(wu)分之二。1938年(nian)日(ri)軍入(ru)(ru)境,星(xing)子縣政府遷(qian)往(wang)都昌,湖(hu)面封(feng)鎖,星(xing)子沿(yan)湖(hu)多(duo)筑日(ri)軍炮臺,西(xi)河戲(xi)活(huo)動迅速失敗,義和班進入(ru)(ru)困難時(shi)(shi)期。雖偶有演出,也(ye)是入(ru)(ru)不敷出,藝(yi)人多(duo)轉(zhuan)(zhuan)而(er)操演皮(pi)影戲(xi),聊以糊口。1942年(nian),日(ri)偽縣長(chang)令義和班在蓼花漢嶺演端午(wu)節(jie)戲(xi),許多(duo)藝(yi)人不從而(er)逃往(wang)外地。其余(yu)(yu)藝(yi)人流(liu)離(li)顛(dian)沛,朝不保夕,竟有藝(yi)人抱(bao)病(bing)轉(zhuan)(zhuan)操皮(pi)影戲(xi)而(er)終(zhong)歿他(ta)鄉(xiang)。
建國后,義和(he)班難以(yi)恢復,但(dan)農(nong)村(cun)業(ye)(ye)余演出(chu)卻蓬勃興起(qi),藝(yi)人多(duo)以(yi)教戲為業(ye)(ye)。縣文化(hua)部(bu)門非常(chang)重視西(xi)河(he)戲對(dui)活(huo)躍農(nong)村(cun)業(ye)(ye)余文化(hua)生(sheng)活(huo)的作(zuo)用,舉行各類(lei)西(xi)河(he)戲調演、匯演和(he)學習班,西(xi)河(he)戲迅速恢復和(he)發展(zhan)。逢年(nian)過節(jie),村(cun)村(cun)場(chang)場(chang)演唱西(xi)河(he)戲,自娛娛人,已(yi)成(cheng)鄉俗。現時農(nong)村(cun)各類(lei)喜事加上大(da)學、參軍、遷新居、婚嫁日(ri)甚(shen)至農(nong)業(ye)(ye)承包、企業(ye)(ye)開張等,人們(men)都愿意(yi)花(hua)不多(duo)的錢(qian),請個(ge)業(ye)(ye)余劇(ju)團演唱西(xi)河(he)戲招待賓客(ke),以(yi)示(shi)慶(qing)賀。
西(xi)河(he)戲植根(gen)于(yu)村野鄉(xiang)俚,吸(xi)收了當(dang)地民(min)間(jian)藝術養份,既古樸、簡(jian)明(ming)、生(sheng)動,又有(you)原始(shi)、俚俗之處(chu),其旋律(lv)高亢奔放,渾(hun)厚(hou)質樸,唱(chang)腔為板(ban)式體,以西(xi)皮、二(er)(er)黃(huang)為基本聲(sheng)調,并兼(jian)有(you)青陽高腔、漁歌、民(min)間(jian)小調等,唱(chang)腔拖腔較短(duan),中(zhong)(zhong)間(jian)夾有(you)襯字,唱(chang)詞(ci)多為七字句、十字段(duan),用(yong)嗓(sang)為“生(sheng)、旦、凈(jing)”三種。臺詞(ci)念白多鄉(xiang)音俚語,服(fu)裝古色古香,表演古樸夸張。武打中(zhong)(zhong)的“搏手(shou)”動手(shou)剛(gang)健、姿態優美,多由民(min)間(jian)拳術變化而來。樂品有(you)京胡(hu)(俗稱(cheng)“細(xi)筒琴”),二(er)(er)胡(hu)(俗稱(cheng)“大(da)筒琴”),民(min)國時始(shi)用(yong)月琴。西(xi)河(he)戲的劇(ju)目(mu)多為歷(li)史袍帶戲,大(da)多取材于(yu)歷(li)史故事,集中(zhong)(zhong)于(yu)三國、隋唐、宋等朝代(dai),內容崇尚(shang)忠(zhong)、義(yi)、廉、孝,表演形式較為固定,生(sheng)活化大(da)于(yu)藝術化,頗具鄉(xiang)土氣息。
西河戲本身就是(shi)一種(zhong)文化,一種(zhong)藝術(shu)形式。她以(yi)多取材于(yu)歷史故事,內容推崇忠(zhong)、孝、節、義,從一個(ge)側(ce)面推動和(he)活躍了鄉村文化。
退一(yi)步講,五六十年代(dai)的(de)人很少(shao)接受系(xi)統的(de)歷(li)史(shi)教育,但戲迷大多(duo)(duo)數(shu)對(dui)歷(li)朝(chao)歷(li)代(dai)的(de)典故(gu)了如指掌;“百善孝(xiao)為(wei)先(xian),忠孝(xiao)節義…”這(zhe)些好(hao)的(de)行(xing)為(wei)規范對(dui)自身(shen)的(de)修為(wei)也或多(duo)(duo)或少(shao)影(ying)響,就(jiu)像《大染坊》中陳(chen)壽亭一(yi)樣,誰說文(wen)盲就(jiu)不懂(dong)歷(li)史(shi),就(jiu)沒有修為(wei)!而作為(wei)我們這(zhe)一(yi)代(dai),有好(hao)的(de)學習(xi)條件,多(duo)(duo)數(shu)為(wei)功利和實(shi)用而學,比起前(qian)輩們,實(shi)在是(shi)發汗。
很多(duo)劇種都在現代的(de)經濟浪潮的(de)沖擊(ji)下逐漸萎縮,西河戲(xi)也不例外。大多(duo)數年輕人都在外打拼,即(ji)使是過年回(hui)家(jia),也很少有人對此感興趣了。
讓(rang)多數(shu)人參與演出(chu)可(ke)能性是不大了(le),但完(wan)全(quan)(quan)可(ke)以(yi)通過(guo)(guo)一(yi)些(xie)專業的整(zheng)理來達到(dao)保護(hu)的目的。大致可(ke)從以(yi)下方面著手:首先收集以(yi)前的劇本(ben)整(zheng)體(ti)編排,刊印。其(qi)次對一(yi)些(xie)經典的劇目進(jin)行(xing)(xing)錄制存(cun)檔。有條件和(he)話(hua)可(ke)通過(guo)(guo)組建一(yi)支業余演出(chu)劇團(tuan)進(jin)行(xing)(xing)演出(chu),如個別單位需(xu)要也可(ke)通過(guo)(guo)商業贊助(zhu)的行(xing)(xing)式進(jin)行(xing)(xing);若(ruo)能完(wan)全(quan)(quan)商業化也可(ke)借簽紹興的社戲(xi)一(yi)樣加(jia)以(yi)推廣(guang)。再(zai)次,對一(yi)些(xie)對西(xi)河(he)戲(xi)感興趣的青年進(jin)行(xing)(xing)重點培養。
聞(wen)聽九(jiu)江正在對(dui)西(xi)河戲進行搶救性保護(hu),甚感欣(xin)慰(wei)。寧(ning)愿相(xiang)信西(xi)河戲她會永遠(yuan)地演下(xia)去。即使(shi)將來的(de)一(yi)天,西(xi)河戲被淹沒在歷史的(de)滾(gun)滾(gun)洪流中(zhong),她曾經(jing)帶給(gei)我們的(de)歡樂(le)與啟(qi)迪(di)和(he)也會隨著(zhu)歷史永流傳。