类别：传统戏剧花朝戏

简介：花朝戏源于紫金县乡村的“神朝”祭祀仪式，用客家话演唱，流行于广东省东部客家地区。明清以来，紫金县“神朝”乐舞深受乡民喜爱。后来神朝艺人为了取悦观众，常在仪式后以小曲演唱轶闻趣事。这种表演谐趣花俏，同虔诚肃穆的神朝形成鲜明的对比，人们更为喜爱，称之为“花朝”。清末民初，艺人叶春林组织定长春班专门演出花朝，逐渐形成花朝戏。此时紫金县还有粤剧、采茶戏和汉调木偶戏演出，花朝戏艺人借鉴吸收这些剧种的剧目、曲牌小调和表演技艺，增强了花朝戏的艺术表现力。花朝戏最盛时，紫金县有 19 个戏班，百余名艺人，有名的戏班如定长春、紫华春、庆祥春、定华喜等，演出遍及粤东十多个客家方言县份。花朝戏在发展过程中积累了上百个传统剧目，代表剧目有《秋丽采花》、《卖杂货》、《三官进房》、《过渡》等。其曲白浅显易懂，常用俚语、歇后语、双关语。唱腔音乐主要由神朝腔和民间小调组成，有时也采用客家山歌。脚色行当一般只有小生、小旦、小丑三种，有扇花、手帕花、砻勾脚、穿心手等特色技艺颇有特色，表演载歌载舞，质朴清新。新中国成立后，作为专业表演团体，紫金县花朝戏剧团整理演出了一些传统剧目，创作演出了《苏丹》、《紫云英》、《红石岭》等现代戏，移植改编了《刘三姐》、《巧姻缘》等剧目。花朝戏的表演艺术有了很大提高，原来的脚色行当分工更趋细致，同时吸收了其他剧种的水袖、身段等表演技艺。唱腔音乐在运用曲牌连缀形式的同时，也运用板式变化的方式。邓观云、刘恩芳、陈业兴、陈淑君等观众喜爱的演员活跃于舞台之上，花朝戏不断在紫金山区和邻近的中、小城市演出，造成一定的影响。花朝戏的传统剧目题材多取自民间传说，大都宣扬惩恶扬善、忠贞爱国、婚姻自由等积极主题。客家人所崇尚的儒家思想及耕读传家、崇文重教等人文观念在花朝戏中得到充分的展示。因此，花朝戏在民间文学、民间音乐、民俗文化、宗教文化等方面都具有较高的学术研究价值。目前，虽然花朝戏专业剧团按期下乡演出，同时还在本地重大的节日庆典及一些民间活动中演出，但是，花朝戏的演出目前已不常见到，观众日渐减少，问题比较突出。

英译：The Huachao Opera originates from the rural "Shen Chao" sacrificial rituals in Zijin County, performed in Hakka dialect and popular in the eastern Hakka region of Guangdong Province. Since the Ming and Qing dynasties, the "Shen Chao" music and dance have been beloved by localresidents. Later, to entertain audiences, Shen Chao performers often sang anecdotes andinteresting stories in small tunes after the rituals. This playful performance style contrasted sharply2with the solemnity of Shen Chao, making it more popular and known as "Huachao."In the late Qing and early Republic of China period, artist Ye Chunlin organized the DingChangchun class specifically for performing Huachao, gradually forming Huachao Opera. At thattime, Zijin County also had performances of Cantonese opera, tea-picking opera, and Han-tunepuppetry. Huachao Opera artists borrowed and absorbed repertoire, musical tunes, andperformance techniques from these genres, enhancing the artistic expression of Huachao Opera. During its peak, there were 19 opera troupes in Zijin County with over a hundred artists. Renowned troupes such as Ding Changchun, Zihua Chun, Qingxiang Chun, and Ding Huaxiperformed in more than ten Hakka dialect counties in eastern Guangdong. During its development, Huachao Opera accumulated over a hundred traditional plays, including representative works like "Autumn Beauty Picking Flowers," "Selling Groceries,""Three Officials Entering the Room," and "Transition." Its dialogue is straightforward and oftenuses slang, idioms, and puns. The singing style mainly consists of Shen Chao tune and folk tunes, sometimes incorporating Hakka folk songs. Typically, there are only three types of roles: youngmale lead, young female lead, and clown, featuring distinctive techniques such as fan andhandkerchief dances and footwork, presenting performances that are simple and fresh. After the founding of the People's Republic of China, as a professional performing group, theZijin County Huachao Opera Troupe organized and performed traditional plays, created moderndramas such as "Sudan," "Chinese Milk Vetch," and "Red Stone Ridge," and adapted plays like"Liu Sanjie" and "Happy Marriage." The performance art of Huachao Opera has greatly improved, with more refined role divisions and the incorporation of techniques such as water sleeves andbody movements from other opera genres. While using the concatenated form of musical tunes, they also apply changes in the board form. Actors such as Deng Guanyun, Liu Enfang, ChenYexing, and Chen Shujun, beloved by audiences, are active on stage, and Huachao Operacontinues to perform in the Zijin Mountain area and nearby towns and cities, exerting a certaininfluence. The traditional themes of Huachao Opera are mostly derived from folk legends, mostlyadvocating positive themes such as punishing evil, promoting goodness, loyalty and patriotism, and freedom in marriage. Confucian ideals cherished by Hakka people, such as farming andeducation, are fully showcased in Huachao Opera. Therefore, Huachao Opera has high academicresearch value in folk literature, folk music, folk culture, and religious culture. Currently, althoughprofessional Huachao Opera troupes perform regularly in rural areas and at major local festivalsand some folk activities, performances of Huachao Opera are now rarely seen, with audiencesgradually decreasing, which presents a prominent issue.