新时期以来有关苏州弹词的批评论争及其学术意义
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摘要
苏州弹词是中国曲艺在当代发展得比较好的说书(小书)形式之一,也是具有鲜明地方特色的江南曲艺品种。然而在经历了"文化大革命"的十年浩劫之后,进入改革开放新时期以来近四十年间的创演实践,也存在着诸多问题与不足。并因此而围绕着节目属性及其篇幅体现、"起脚色"的技巧运用与分寸把握、重唱轻说的创演偏颇及所透出的重形式轻内容等问题,不同程度地展开了一些持续时间较长的相应理论交锋与批评论争。回眸并梳理这些具有某种思潮性的创演脉络及其批评论争,不仅会促进苏州弹词创演实践的健康开展,而且会丰富和充实苏州弹词艺术的理论宝库。同时,这也是对于苏州弹词创演批评与理论建设的别一种思考即检讨和审视,意义积极而又重大。
Suzhou Tanci( storytelling to the accompaniment of stringed instruments) is one genre of storytelling that develops well among Chinese folk art forms at the present times,which has distinct local characteristics of the regions south of the Yangtze River. However,after going through the ten years' catastrophe in the "Cultural Revolution",practices of its creation and performances duringthe latest 40 years since the reform and opening-up have had problems and shortcomings of one sort or another. Relevant theoretic confrontations,criticisms and debates have been unfolded in different extent,some of which have lasted a rather long time,focusing on issues including program property and length,skill application and discretion of roles,biased creation and performances of highlighting singing while understating speaking and its implication of a more attention on the form rather than content. To look back at and review these impulses with some kind of ideological trend and discussions about them,we will not only accelerate the sound development of Suzhou Tanci but also enrich the theories on the art of Suzhou Tanci,providing another kind of thinking,that is,self-criticism and inspection. It is of great and positive significance.
Suzhou Tanci( storytelling to the accompaniment of stringed instruments) is one genre of storytelling that develops well among Chinese folk art forms at the present times,which has distinct local characteristics of the regions south of the Yangtze River. However,after going through the ten years' catastrophe in the "Cultural Revolution",practices of its creation and performances duringthe latest 40 years since the reform and opening-up have had problems and shortcomings of one sort or another. Relevant theoretic confrontations,criticisms and debates have been unfolded in different extent,some of which have lasted a rather long time,focusing on issues including program property and length,skill application and discretion of roles,biased creation and performances of highlighting singing while understating speaking and its implication of a more attention on the form rather than content. To look back at and review these impulses with some kind of ideological trend and discussions about them,we will not only accelerate the sound development of Suzhou Tanci but also enrich the theories on the art of Suzhou Tanci,providing another kind of thinking,that is,self-criticism and inspection. It is of great and positive significance.
引文
[1]吴文科.评弹要像评弹[N].文艺报,1992-03-28.
[2]刘家昌.长篇书目是评弹艺术的支撑[M]//周良.评弹艺术:第26集.苏州:苏州大学出版社,2000.
[3]方芝.苏州评弹的长篇[M]//周良.评弹艺术:第26集.苏州:苏州大学出版社,2000.
[4]刘家昌.不要做苏州评弹的“杀手”[M]//周良.评弹艺术:第45集.苏州:苏州大学出版社,2012.
[5]吴文科.论金丽生对苏州弹词的艺术传承——兼论影响当前苏州弹词传承发展的一些理论与实践问题[M]//江苏省文艺评论家协会.江苏文艺研究与评论:第2期.南京:南京大学出版社,2011.
[6]吴文科,周良.对苏州评弹“起脚色”的讨论[M]//周良.评弹艺术:第34集.苏州:苏州大学出版社,2005.
[7]吴宗锡.就评弹艺术特征给周良同志的信[M]//苏州评弹研究会.评弹艺术:第12集.北京:中国曲艺出版社,1991:9.
[2]刘家昌.长篇书目是评弹艺术的支撑[M]//周良.评弹艺术:第26集.苏州:苏州大学出版社,2000.
[3]方芝.苏州评弹的长篇[M]//周良.评弹艺术:第26集.苏州:苏州大学出版社,2000.
[4]刘家昌.不要做苏州评弹的“杀手”[M]//周良.评弹艺术:第45集.苏州:苏州大学出版社,2012.
[5]吴文科.论金丽生对苏州弹词的艺术传承——兼论影响当前苏州弹词传承发展的一些理论与实践问题[M]//江苏省文艺评论家协会.江苏文艺研究与评论:第2期.南京:南京大学出版社,2011.
[6]吴文科,周良.对苏州评弹“起脚色”的讨论[M]//周良.评弹艺术:第34集.苏州:苏州大学出版社,2005.
[7]吴宗锡.就评弹艺术特征给周良同志的信[M]//苏州评弹研究会.评弹艺术:第12集.北京:中国曲艺出版社,1991:9.