外公留聲

第14盤第14盘Reel 14

標籤卡标签卡Label card · 全文· 全文· transcription

  • 標籤卡細部标签卡细部Label card detail

  • 帶盒書脊带盒书脊Spine

  • 帶盒正面带盒正面Box front

標籤卡 — 第14盤 Reel 14

標籤卡标签卡Label card

手（鉛筆）：舞台錄音 ／ 蘇六娘 全連。青色：一、二、三、四段 ⟨至完⟩；紅色：五、六段 000至⟨…⟩ ／ 汕头戲曲學⟨院⟩ ／ 手（藍筆）：⑭・9.5・⟨藝声唱片⟩ ／ 貼（剪報）：刺梁驥・丑工戲 ／ 貼（藍字）：陳邦沐・羅⟨繼⟩麗・郭宜杰 主唱手（铅笔）：舞台录音 ／ 苏六娘 全连。青色：一、二、三、四段 ⟨至完⟩；红色：五、六段 000至⟨…⟩ ／ 汕头戏曲学⟨院⟩ ／ 手（蓝笔）：⑭・9.5・⟨艺声唱片⟩ ／ 贴（剪报）：刺梁骥・丑工戏 ／ 贴（蓝字）：陈邦沐・罗⟨继⟩丽・郭宜杰 主唱In pencil at the head: 舞台錄音 — a stage recording, not a film soundtrack. Su Liuniang, complete: green leader parts one to four ⟨to the end⟩; red leader parts five and six, counter 000 to ⟨…⟩. Below, a pencilled 汕头戲曲學⟨院⟩ (Shantou opera academy). In blue: tape ⑭, speed 9.5, and the faint note ⟨藝声唱片⟩ — Yisheng Records of Hong Kong. Two stickers pasted on: a newsprint clipping billing Stabbing Liang Ji as a 丑工戲 (clown-role piece), and a blue label naming the lead singers Chen Bangmu, Luo ⟨Ji⟩li and Guo Yijie.

⟨ ⟩ 內文字存疑，待家人核對⟨ ⟩ 内文字存疑，待家人核对Characters in ⟨ ⟩ are uncertain readings awaiting family verification

外公的標註外公的标注His notes

舞台錄音・香港錄音。蘇六娘（全連）：青色一至四段，紅色五、六段。刺梁驥（丑工戲）：陳邦沐・羅⟨繼⟩麗・郭宜杰 主唱。⑭・9.5・⟨藝声唱片⟩。舞台录音・香港录音。苏六娘（全连）：青色一至四段，红色五、六段。刺梁骥（丑工戏）：陈邦沐・罗⟨继⟩丽・郭宜杰 主唱。⑭・9.5・⟨艺声唱片⟩。Stage recording, made in Hong Kong. Su Liuniang complete: green leader parts one to four, red leader parts five and six. Stabbing Liang Ji (a clown-role piece): lead singers Chen Bangmu, Luo ⟨Ji⟩li, Guo Yijie. Tape ⑭, speed 9.5, ⟨Yisheng Records⟩.

戲曲背景戏曲背景About the operas

《蘇六娘》是潮劇的看家戲 — 明代揭陽真事化成的愛情傳奇，蘇六娘與郭繼春生死相許，婢女桃花一場「桃花過渡」與渡伯鬥歌，是潮汕人人會哼的段子。此盤與別不同：卡上明寫「舞台錄音」、書脊寫「香港錄音」— 廣東潮劇團一九六〇年赴香港演出，卡上鉛筆所記⟨藝声唱片⟩，或即此聲之所本 — 家屬推測，此帶轉錄自當年灌下的舞台實況，非電影原聲。後接《刺梁驥》— 漁家樂故事，鄔飛霞替父報仇刺殺權奸 — 剪報上明標為「丑工戲」，主唱陳邦沐、羅⟨繼⟩麗、郭宜杰，卡上另有一行「汕头戲曲學⟨院⟩」，或即演出班底。正是這次一九六〇年五月之行掀起香港的「潮劇熱」，劇團並把看家戲《蘇六娘》交予新聯公司，同年拍成電影 — 潮劇電影熱潮最清晰的一枚引信。至於《刺梁驥》，主唱中唯一可考的陳邦沐是汕頭戲曲學校出身的丑行，在校常演此劇的萬家春 — 這盤所存或是一台學生陣容，也難怪同台兩位不見經傳。《苏六娘》是潮剧的看家戏 — 明代揭阳真事化成的爱情传奇，苏六娘与郭继春生死相许，婢女桃花一场「桃花过渡」与渡伯斗歌，是潮汕人人会哼的段子。此盘与别不同：卡上明写「舞台录音」、书脊写「香港录音」— 广东潮剧团一九六〇年赴香港演出，卡上铅笔所记⟨艺声唱片⟩，或即此声之所本 — 家属推测，此带转录自当年灌下的舞台实况，非电影原声。后接《刺梁骥》— 渔家乐故事，邬飞霞替父报仇刺杀权奸 — 剪报上明标为「丑工戏」，主唱陈邦沐、罗⟨继⟩丽、郭宜杰，卡上另有一行「汕头戏曲学⟨院⟩」，或即演出班底。正是这次一九六〇年五月之行掀起香港的「潮剧热」，剧团并把看家戏《苏六娘》交予新联公司，同年拍成电影 — 潮剧电影热潮最清晰的一枚引信。至于《刺梁骥》，主唱中唯一可考的陈邦沐是汕头戏曲学校出身的丑行，在校常演此剧的万家春 — 这盘所存或是一台学生阵容，也难怪同台两位不见经传。Su Liuniang is Teochew opera's signature piece — a Ming-dynasty Chaozhou romance drawn from a true story, Su Liuniang and Guo Jichun pledged to each other unto death, and the maid Peach Blossom's ferry-crossing duet with the old boatman a tune every Teochew speaker can hum. This reel is unlike the film soundtracks elsewhere on the shelf: the card says 舞台錄音 — a stage recording — and the spine says it was recorded in Hong Kong. When the Guangdong Teochew Opera Troupe toured Hong Kong in 1960, the faint pencil note ⟨藝声唱片⟩ names Yisheng Records — the family's best guess is that this tape was dubbed from stage recordings of that tour; a stage recording, then, not a film soundtrack. The second programme is Stabbing Liang Ji — the Fisherman's Joy story, in which Wu Feixia avenges her father by assassinating the tyrant — billed on the pasted clipping as a 丑工戲, a clown-role showcase, with singers Chen Bangmu, Luo ⟨Ji⟩li and Guo Yijie, and a pencilled note of a Shantou opera academy that may name the company. It was this May 1960 visit that set off Hong Kong's 'Teochew opera fever': the troupe handed its signature Su Liuniang to the Sun Luen (新聯) studio to be filmed that same year — the clearest single spark of the film boom. As for Stabbing Liang Ji, the one singer who can be traced, Chen Bangmu, was a Shantou Opera School-trained clown who regularly played Wan Jiachun in this very play in student productions — the tape may preserve a student cast, which would explain why his two co-billed singers left no trace at all.

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