本文選題：江蘇淮陰 + 演出劇目�。� 參考：《中國(guó)戲劇》2015年12期

【摘要】：正淮海戲,早期是沿門說(shuō)唱民間故事的"門頭詞",因以板三弦伴奏,也稱"三刮調(diào)"、"肘鼓子",流行于江蘇淮陰、連云港及徐州、鹽城地區(qū)的部分城鄉(xiāng)和安徽東北一帶。清道光十年(1830)后,蘇北藝人自由結(jié)社,發(fā)展為打地?cái)傃莩龅男颉Ｇ骞饩w六年(1880)后,淮海小戲與徽劇、京劇等先后搭班合演,革新了音樂(lè)唱腔,豐富了表演技藝,吸收了演出劇目。光緒二十六年(1900)后,淮海戲有了女藝人,藝術(shù)上也有
[Abstract]:Zheng Huai Hai Opera, early is along the door rap folk story "door head word", because of the plate three string accompaniment, also known as "three scrape tune", "elbow drum", popular in Jiangsu Huaiyin, Lianyungang and Xuzhou, Yancheng part of the urban and rural areas and northeast Anhui area. Ten years after Qing Daoguang (1830), Subei artists freedom of association, the development of a small show. After six years of Qing Guang Xu, Huai Hai Opera, Huizhou Opera, Beijing Opera and so on set up a class, innovating the music singing, enriched the performance skills, absorbed the performance repertoire. After 26 years of Guang Xu (1900), there were female artists in Huaihai Opera, as well as in art.
【作者單位】： 江蘇師范大學(xué)音樂(lè)學(xué)院;
【分類號(hào)】：J825

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