安徽本土曲艺传承路径的前沿思考
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摘要
曲艺是最具中华民族特点的民间表演艺术形式,其以"口语说唱"来叙述故事、塑造人物、表达思想感情、反映社会生活,深深地扎根在群众身边,用中国人的方式讲述中国人的故事,自古以来在人民的文化生活中占有十分重要的位置。曲艺传承路径的思考与探索需要以更加理性的眼光来审视。安徽本土曲艺曲种丰富,其发展历史、传承现状具有典型性,在深谙曲艺"师带徒""口传心授"规律的同时,将曲艺艺术教育纳入高等院校教育体系,是安徽为适应新时代文化艺术发展需求开拓出的有效路径,既是安徽本土曲艺艺术向前发展的关键,又寄寓着社会对艺术院校曲艺人才培养的殷切期待。
Quyi is the most characteristic folk performing art of the Chinese nation.It tells stories,portrays characters,expresses thoughts and feelings,and reflects social life with.It is deeply rooted in the masses and tells Chinese stories in Chinese ways.Since ancient times,it has played a very important role in people's cultural life.The exploration of the inheritance path of Quyi need to be examined from a more rational perspective.Anhui's local Quyi is rich in varieties,and its development history and inheritance present situation are typical.While fully understanding the laws of Quyi "apprenticeship" and "oral transmission",it is an effective way to integrate Quyi education into the higher education system to meet the needs of cultural and artistic development in the new era.It is not only the key to the development of Anhui's local Quyi,but also the ardent expectation of society for the training of Quyi talents in art colleges.
Quyi is the most characteristic folk performing art of the Chinese nation.It tells stories,portrays characters,expresses thoughts and feelings,and reflects social life with.It is deeply rooted in the masses and tells Chinese stories in Chinese ways.Since ancient times,it has played a very important role in people's cultural life.The exploration of the inheritance path of Quyi need to be examined from a more rational perspective.Anhui's local Quyi is rich in varieties,and its development history and inheritance present situation are typical.While fully understanding the laws of Quyi "apprenticeship" and "oral transmission",it is an effective way to integrate Quyi education into the higher education system to meet the needs of cultural and artistic development in the new era.It is not only the key to the development of Anhui's local Quyi,but also the ardent expectation of society for the training of Quyi talents in art colleges.
引文
[1]习近平会见第四届全国道德模范及提名奖获得者[EB/OL].(2013-09-26).http://www.wenming.cn/syjj/sp_syjj/201309/t20130926_1493659.shtml.
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[8]中国曲艺家学会研究部,编.曲艺特征论[M].北京:中国曲艺出版社,1989:5.
[9]耿瑛.曲艺纵横谈[M].沈阳:春风文艺出版社,1993:65-66.
[10]吴文科.中国曲艺艺术论[M].太原:山西教育出版社,2000:21、435.
[2]中国大百科全书总编辑委员会《戏曲曲艺》编辑委员会,中国大百科全书出版社编辑部,编.中国大百科全书·戏曲、曲艺[M].北京:中国大百科全书出版社,1983:卷首.
[3]侯宝林,汪景寿,薛宝琨.曲艺概论[M].北京:北京大学出版社,1980:123.
[4]辞海编辑委员会.辞海·艺术分册.[M]上海:上海辞书出版社,1984:237.
[5]倪钟之.曲艺的特征与少数民族曲艺[J].艺术研究,1991,(夏季号):43.
[6]高翔.我为毛主席说相声[J].安徽文学(增刊),2004,(专刊):77.
[7]陈义敏,刘骏骧,主编.中国曲艺·杂技·木偶戏·皮影戏[M].北京:文化艺术出版社,1999:5-6.
[8]中国曲艺家学会研究部,编.曲艺特征论[M].北京:中国曲艺出版社,1989:5.
[9]耿瑛.曲艺纵横谈[M].沈阳:春风文艺出版社,1993:65-66.
[10]吴文科.中国曲艺艺术论[M].太原:山西教育出版社,2000:21、435.