- 期刊
- OpenAccess
非凡聲藝－粵劇「何非凡腔」探究
An Extraordinary Voice: A study of Ho Fei-fan style Aria in Cantonese Opera
摘要
唱腔乃伶人最重要的門面，唱、做、唸、打四功中以唱居其首，唱腔和唱功最能展現出伶人的獨特性和代表性，故之伶人對唱腔尤為著重；而在此久經鑽研後可自成一家，甚至備受擁戴，絕非易事。何非凡（1920－1980），被譽為是1940、50年代最擅唱，也是竄紅最快的文武生；他所自創的凡腔養分豐富，以高亢的嗓音及奇特的行腔聞名，在當時芸芸唱腔流派中脫穎而出。本文著墨於梳理粵劇何非凡腔在香港的整體發展概況，探究此流派自何非凡創立以來分別在粵劇界及業餘界的伸張和動態；先察析凡腔的聲腔特點，再進一步了解凡腔在舞台上下歷來的接受和流行程度，透視箇中脈絡。在唱腔藝術被越發輕視的現今，期望透過對凡腔一派的記錄與剖析，可以重喚香港藝文界、粵劇界及學術界對粵劇唱腔流派的注重和審視。
並列摘要
Stylized singing is the most important artistic skill of a Cantonese Opera performer. Among the four key skills of singing, acting, speaking/reciting, and martial art, singing ranks first. Stylized singing and singing capabilities can best showcase the uniqueness and representativeness of a performer. Thus, performers have traditionally placed a heavy emphasis on stylized singing, developing unique and personalized singing methods after a strenuous study, pursuit and refinement. Ho Fei-fan (何非凡, 1920-1980), known as the best singer in the 1940s and 1950s, was also the most popular leading male performer of his time. His unique singing skills stood out from all the rest. This article aims to sort out the overall artistic development of the Ho Fei-fan style (何非凡腔/凡腔) of Cantonese Opera singing in Hong Kong, and explore the development and dynamics of this genre of Cantonese Opera singing in the professional and amateur circles since the style was established by Ho Fei-fan. First will be an analysis of the attributes of the singing style, followed by a look at the popularity, acceptance and influence of the singing style on and off the Cantonese Opera stage - seeking to find patterns and connections. It is hoped that at a time when the art of stylized singing is overlooked, through the recording and analysis of the Ho Fei-fan style of singing, it can re-awaken the attention and interest of Cantonese opera singing styles in Hong Kong art and culture circles, Cantonese Opera circles and academic circles.