{"id":12401,"date":"2019-11-21T01:16:11","date_gmt":"2019-11-21T01:16:11","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/fuzhou-cheyi-fu-zhou-yi\/"},"modified":"2019-11-21T01:16:11","modified_gmt":"2019-11-21T01:16:11","slug":"fuzhou-cheyi-fu-zhou-yi","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/mm\/fuzhou-cheyi-fu-zhou-yi\/","title":{"rendered":"Fuzhou cheyi \u798f\u5dde\u4f2c\u827a"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u66f2\u827a
Category: Recitative, Story-telling
\u5730\u533a\uff1a\u798f\u5efa
Region: Fujian Province
\u7f16\u53f7\uff1aV —15
Ref. No.: V-15
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u798f\u5efa\u7701\u798f\u5dde\u5e02
Nominating unit[s]: Fuzhou City, Fujian Province
\u798f\u5dde\u4f2c\u827a\u662f\u4e00\u79cd\u4f20\u7edf\u7684\u66f2\u827a\u5531\u66f2\u5f62\u5f0f\uff0c\u6d41\u884c\u4e8e\u798f\u5efa\u7701\u7684\u798f\u5dde\u5e02\u53ca\u95fd\u4faf\u3001\u957f\u4e50\u3001\u8fde\u6c5f\u3001\u798f\u6e05\u7b49\u53bf\uff0c\u5e76\u4f20\u64ad\u5230\u53f0\u6e7e\u7701\u53ca\u6e2f\u6fb3\u5730\u533a\uff0c\u5728\u7f05\u7538\u3001\u65b0\u52a0\u5761\u3001\u5370\u5ea6\u5c3c\u897f\u4e9a\u7b49\u56fd\u7684\u798f\u5dde\u7c4d\u534e\u4fa8\u805a\u5c45\u533a\u4e5f\u6709\u6f14\u5531\u3002\u5b83\u539f\u540d\u5531\u3002\u81ea1943\u5e74\u4ece\u4e1a\u827a\u4eba\u6210\u7acb“\u798f\u5dde\u5e02\u827a\u4e50\u5531\u8054\u8c0a\u4f1a”\u59cb\uff0c\u5b9a\u540d\u4e3a\u798f\u5dde\u827a\u3002
As a traditio<\/em>nal style of storytelling, Fuzhou cheyi not o<\/em>nly prevails in Fuzhou City, Minhou, Changle, Lianjiang, Fuqing counties, etc. in Fujian Province, but has also spread to Taiwan Province, Hong Kong and Macao. It can be even heard in Burma, Singapore, Indo<\/em>nesia and other countries wher the overseas Fuzhou people settled. With an original name of Chang (singing), it was renamed as “Fuzhou cheyi” in 1943 when artists in this circle established “Sodality of Fuzhou Cheyi”.
\u76f8\u4f20\u798f\u5dde\u4f2c\u827a\u662f\u7531\u6c11\u95f4\u5356\u5531\u827a\u4eba\u5728\u6c11\u6b4c\u5c0f\u8c03\u7684\u57fa\u7840\u4e0a\u53c2\u7167\u6c11\u95f4\u793e\u706b\u6d3b\u52a8\u521b\u9020\u53d1\u5c55\u800c\u6765\uff0c\u7ea6\u5f62\u6210\u4e8e\u660e\u4ee3\u5609\u9756\u5e74\u95f4\u3002\u6e05\u4ee3\u51fa\u73b0\u4e86\u4e0d\u5c11\u4ee5\u8868\u6f14\u827a\u4e3a\u4e3b\u7684\u6c11\u95f4\u73ed\u793e\uff0c\u79f0\u4e3a“\u793e”\uff0c\u8457\u540d\u7684\u6709\u8fbe\u4e91\u9704\u3001\u9a7e\u4e91\u5929\u3001\u96c5\u4e50\u5929\u3001\u540c\u4e50\u8f69\u7b49\u3002\u592a\u5e73\u5929\u56fd\u65f6\u671f\uff0c\u6d59\u6c5f\u3001\u5b89\u5fbd\u3001\u6c5f\u897f\u7684\u6d41\u6c11\u5927\u91cf\u9003\u4ea1\u798f\u5efa\uff0c\u968f\u6765\u7684\u827a\u4eba\u805a\u96c6\u5728\u798f\u5dde\u7684\u7ecf\u9662\u5df7\u548c\u8f83\u573a\u6cbf\u4e00\u5e26\uff0c\u4ee5\u6c5f\u6dee\u5c0f\u8c03\u3001\u83b2\u82b1\u843d\u53ca\u5f0b\u9633\u8154\u6cbf\u8857\u5356\u5531\uff0c\u5bf9\u5f53\u5730\u7684\u4f2c\u827a\u4ea7\u751f\u8f83\u5927\u5f71\u54cd\u3002\u6297\u65e5\u6218\u4e89\u540e\uff0c\u827a\u8868\u6f14\u6e10\u8d8b\u8870\u843d\u3002\u4e2d\u534e\u4eba\u6c11\u5171\u548c\u56fd\u6210\u7acb\u4e4b\u521d\uff0c\u6709\u5173\u90e8\u95e8\u5bf9\u798f\u5dde\u4f2c\u827a\u8fdb\u884c\u6276\u6301\uff0c\u6210\u7acb\u4e86\u798f\u5dde\u5e02\u827a\u5de5\u4f5c\u8005\u8054\u8c0a\u4f1a\uff0c\u5efa\u7acb\u4e865\u5904\u4e13\u95e8\u8868\u6f14\u827a\u7684\u573a\u6240\uff0c\u5e76\u7ec4\u7ec7\u827a\u4eba\u6210\u7acb\u6f14\u51fa\u961f\u548c\u6f14\u5531\u5c0f\u7ec4\u8fdb\u884c\u6f14\u51fa\u30021960\u5e74\u53c8\u6210\u7acb\u4e86\u4ee5\u8868\u6f14\u4f2c\u827a\u4e3a\u4e3b\u7684\u798f\u5dde\u5e02\u66f2\u827a\u56e2\uff0c\u4f7f\u8fd9\u95e8\u4f20\u7edf\u827a\u672f\u5f97\u4ee5\u590d\u5174\u3002
Fuzhou cheyi is said to be created by some folk singers during the reign of Emperor Jiajing in the Ming Dynasty ba<\/em>sed on popular folk so<\/em>ngs with reference to Shehuo (the performances on traditio<\/em>nal or religious festivals). In the Qing Dynasty, a number of folk troupes sprang up with cheyi as their major performances. They were known as “She (association)” at that time. The famed She included Da Yun Xiao (Reaching Clouds), Jia Yun Tian (Riding Clouds), Ya Le Tian (Place of Elegant Joy), Tong Le Xuan (Group of Sharing Happiness) and so on. During the period of the Taiping Heavenly Kingdom, as a large number of refugees from Zhejiang, Anhui and Jiangxi Provinces fled to Fujian Province, the artists among them gathered in the place around Jingyuanxiang and Jiaochangyan of Fuzhou City. They made a living by singing along the streets, so the melodies were mixed with popular tunes of the area between the Yangtze River and the Huaihe River, Lian Hua Luo (singing performance of the blind) and Yiyang Qiang (a common systematic tune of Chinese Opera, with local features of Yiyang, Jiangxi Province). As a result, such performances had a great effect on the development of cheyi. After outbreak of the Anti-Japanese War, the performance of cheyi began to turn sour. During the early days of the People’s Republic of China, relevant government departments provided great supports for Fuzhou cheyi by establishing a sodality of Fuzhou cheyi performers, setting up 5 sites for cheyi performance, and organizing the artists to carry out various shows. Furthermore, Fuzhou Folk Vocal Art Ensemble was founded in 1960, which took cheyi as its main performance. In this sense, this traditio<\/em>nal art got revived.
\u798f\u5dde\u4f2c\u827a\u4f7f\u7528\u798f\u5dde\u65b9\u97f3\u8bf4\u5531\uff0c\u8868\u6f14\u5f62\u5f0f\u901a\u5e38\u4e3a\u4e00\u81f3\u4e8c\u4eba\u81ea\u64cd\u4e8c\u80e1\u6216\u4e09\u5f26\u8bf4\u5531\u8868\u6f14\uff0c\u4ee5\u5531\u4e3a\u4e3b\uff0c\u95f4\u6709\u8bf4\u8868\uff0c\u53e6\u6709\u4eba\u4ee5\u4e09\u5f26\u3001\u6708\u7434\u3001\u4f4e\u80e1\u7b49\u4f34\u594f\u3002\u5176\u4e2d\u8bf4\u5531\u8868\u6f14\u7684\u957f\u7bc7\u8282\u76ee\u79f0\u4e3a“\u8bc4\u8bdd”\uff0c\u591a\u4eba\u5404\u64cd\u4e8c\u80e1\u3001\u4e09\u5f26\u3001\u6708\u7434\u3001\u4f4e\u80e1\u53ca\u677f\u9f13\u3001\u6a80\u677f\u3001\u6454\u78ec\u3001\u5355\u94b9\u3001\u6a2a\u7b1b\u3001\u7b19\u3001\u5c0f\u5522\u5450\u7b49\u81ea\u884c\u4f34\u594f\u56f4\u5531\u6216\u8f6e\u9012\u6f14\u5531\u7684\u65b9\u5f0f\u79f0\u4e3a“\u5168\u5802”\u3002\u4f20\u7edf\u793e\u706b\u8868\u6f14\u4e2d\u8fdb\u884c\u7684\u827a\u8868\u6f14\u8fd8\u8f85\u52a9\u4ee5\u8dd1\u65f1\u8239\u3001\u8e29\u9ad8\u8df7\u3001\u53f0\u9601\u3001\u9a6c\u4e0a\u3001\u6253\u83b2\u82b1\u68cd\u7b49\u6742\u6280\u6027\u7684\u52a8\u4f5c\u8868\u6f14\u3002\u798f\u5dde\u827a\u7684\u5531\u8154\u66f2\u724c\u5206“\u9017\u8154”\u3001“\u6c5f\u6e56”\u3001“\u6b4c”\u548c“\u5c0f\u8c03”\u56db\u7c7b\uff0c\u53e6\u6709\u3010\u91c7\u83b2\u9f13\u3011\u3001\u3010\u8d3a\u5e74\u6b4c\u3011\u3001\u3010\u8783\u87f9\u6b4c\u3011\u3001\u3010\u6570\u843d\u3011\u7b49\u6c11\u95f4\u5c0f\u8c03\u3002\u5176\u8282\u76ee\u4ee5\u4e2d\u7bc7\u6545\u4e8b\u4e3a\u4e3b\uff0c\u8f85\u4e4b\u4ee5\u6563\u66f2\u6f14\u5531\u3002\u4f20\u7edf\u8282\u76ee\u6309\u7167\u4f7f\u7528\u7684\u5531\u8154\u66f2\u724c\uff0c\u5206\u4e3a\u6c5f\u6e56\u672c\u3001\u6b4c\u672c\u3001\u9017\u8154\u672c\u548c\u5c0f\u8c03\u5531\u7bc7\u56db\u7c7b\uff0c\u5176\u4e2d\u5c5e\u4e8e\u6c5f\u6e56\u672c\u7684\u4ee3\u8868\u6027\u8282\u76ee\uff0c\u6709\u300a\u73cd\u73e0\u5854\u300b\u548c\u300a\u91d1\u9f9f\u6bcd\u300b\u7b49\uff0c\u5c5e\u4e8e“\u6b4c\u672c”\u7684\u4ee3\u8868\u6027\u8282\u76ee\u6709\u300a\u767d\u6247\u8bb0\u300b\u548c\u300a\u62e3\u8336\u8bb0\u300b\u7b49\uff0c\u5c5e\u4e8e\u9017\u8154\u672c\u7684\u4ee3\u8868\u6027\u8282\u76ee\u6709\u300a\u7d2b\u7389\u9497\u300b\u3001\u300a\u7334\u544a\u72b6\u300b\u3001\u300a\u7075\u829d\u8349\u300b\u548c\u300a\u738b\u662d\u541b\u300b\u7b49\u3002\u8fd9\u4e9b\u8282\u76ee\u662f\u798f\u5dde\u4f2c\u827a\u8282\u76ee\u7684\u4e3b\u4f53\uff0c\u6b64\u5916\u5c1a\u6709\u5404\u79cd\u66f2\u8c03\u7efc\u5408\u8fd0\u7528\u7684\u5e73\u8bb2\u300220\u4e16\u7eaa\u540e\u534a\u671f\u51fa\u73b0\u4e86\u4e0d\u5c11\u53cd\u6620\u73b0\u5b9e\u751f\u6d3b\u7684\u65b0\u8282\u76ee\uff0c\u5f71\u54cd\u8f83\u5927\u7684\u6709\u300a\u7ea2\u8272\u4e09\u5144\u5f1f\u300b\u3001\u300a\u9526\u7ee3\u6cb3\u5c71\u300b\u3001\u300a\u4e00\u5e27\u7167\u7247\u300b\u3001\u300a\u601d\u5f52\u300b\u7b49\uff0c\u540c\u65f6\u8fd8\u6574\u7406\u6f14\u51fa\u4e86\u300a\u601d\u51e1\u300b\u7b49\u4e00\u4e9b\u4f18\u79c0\u7684\u4f20\u7edf\u66f2\u76ee\u3002
Fuzhou cheyi is performed in Fuzhou dialect. In most cases, it is performed in the form of a chorus co<\/em>nsisting of one or two performers giving a storytelling show while playing Erhu (a two-stringed bowed instrument) or Sanxian (a three-stringed plucked instrument) accompanied by other performers playing Sanxian, Yueqin (a four-stringed plucked instrument with a full-moon-shaped sound box) and bass Erhu etc. The entire show is mainly composed of singing, with the interludes of story telling. In particular, the voluminous storytelling performance is called as “Ping Hua”. “Quan Tang” is another kind of performance, which refers to many performers giving performance in a circle all together or in turn. When singing, each performer plays an instrument by him\/herself, and the instruments include Erhu, Sanxian, Yueqin, bass Erhu, as well as Bangu (a traditio<\/em>nal Chinese musical instrument for beating), Tanban (hardwood clappers made of sandal wood), Shuaiqing (performance of throwing musical stones), Danbo (a bro<\/em>nze and round instrument), Hengdi (a kind of flute), Sheng (a reed pipe wind instrument), small Suona (Chinese clarinet) and so forth. In traditio<\/em>nal Shehuo show, the cheyi performance is enriched by other acrobatics such as Pao Hanchuan (performers wearing boat models and parading on the street), stilts, Taige (performance on a small wood stage carried out by eight people), Mashang (performance on a horse), Da Lianhua Gun (lotus cudgel play). The works of Fuzhou cheyi are classified into “Douqiang (major music for voices in Fujian operas)”, “Jianghu (masses)”, “Ge (songs)” and “Xiaodiao (folk music)” in terms of Qupai (the names of the tunes for which Qu (music) is composed). There are also some popular folk so<\/em>ngs such as “Cai Lian Gu (Drum Music for Picking Lotus)”, “He Nian Ge (New Year Greetings)”, “Pangxie Ge (Song of Crabs)" and “Shu Luo (Blaming)”. Most of these works are medium-length stories accompanied with medium-length folk songs. As mentio<\/em>ned above, there are four categories of traditio<\/em>nal works. The representative works of “Jianghu” include “Zhenzhu Ta (Peal Tower)”, “Jingui Mu (Mother of Gold Turtle)” and so on. For “Ge” category, it includes “Bai Shan Ji (Story of A White Fan)”, “Jian Cha Ji (Story of Picking Tea Leaves)” and so on. For “Douqiang ”, it includes “Zi Yu Chai (Mauve Jade Hairpin)”, “Hou Gao Zhuang (Mo<\/em>nkeys Filing a Suit)”, “Ling Zhi Cao (Polyporus Lucidus)” and “Wang Zhaojun (a beauty in Ancient China)”. These works co<\/em>nstitute the main body of Fuzhou cheyi, and also there are other storytelling shows in the style of Fujian opera, which are integrated with various tones. In the second half of the twentieth century, many new works surged to reflect the true life. The well-known works include “Hong Se San Xiong Di (Three Brothers in the Party), “Jin Xiu He Shan (Gorgeous Territory)”, “Yi Zhen Zhao Pian (A Photograph)”, "Si Gui (Homesickness)” and so on. Meanwhile, some outstanding traditio<\/em>nal works were compiled, such as “Si Fan (Missing the Secular Life)”.
\u8fdb\u516521\u4e16\u7eaa\u4ee5\u6765\uff0c\u798f\u5dde\u4f2c\u827a\u7684\u53d1\u5c55\u5904\u4e8e\u6fd2\u5371\u72b6\u6001\uff0c\u4e66\u573a\u5df2\u7ecf\u5168\u90e8\u6d88\u5931\uff0c\u9ad8\u53f0\u6f14\u51fa\u4e5f\u4ece20\u4e16\u7eaa30\u5e74\u4ee3\u7684\u6bcf\u5e74\u56db\u5343\u4f59\u573a\u9510\u51cf\u5230\u73b0\u5728\u7684\u6bcf\u5e74\u4e0d\u5230\u4e09\u767e\u573a\u3002\u4eba\u624d\u9752\u9ec4\u4e0d\u63a5\uff0c\u66f2\u672c\u6563\u5931\u4e25\u91cd\uff0c\u6f14\u5458\u5df2\u4e0d\u8db315\u4eba\uff0c\u6d41\u6d3e\u827a\u672f\u4e25\u91cd\u5931\u4f20\uff0c\u62db\u751f\u4f20\u4e60\u56f0\u96be\u91cd\u91cd\uff0c\u6025\u9700\u52a0\u4ee5\u6709\u6548\u6276\u6301\u548c\u5927\u529b\u4fdd\u62a4\u3002
Since the twenty-first century, Fuzhou cheyi has been on the verge of extinction. The theatres for storytelling can hardly be found now, and the number of the high-stage performance also dramatically dropped from over four thousand per year in the 1930s to less than three hundred per year now. The qualified successors of Fuzhou cheyi are in severe shortage with o<\/em>nly 15 performers who can actually perform this art, and there are great difficulties in apprentice enrollment. On the other hand, a large number of so<\/em>ngbooks have been scattered and lost. It requires immediate and effective supports and forceful protection to Fuzhou cheyi.
\u76f8\u5173\u4f20\u627f\u4eba\uff1a
Inheritor(s):
\u94b1\u632f\u534e \u5f3a\u6dd1\u5982
Qian Zhenhua and Qiang Shuru
<\/div>\n