环县道情皮影的传播发展研究
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摘要
环县地处我国北方农牧交错带,这里风高土燥,秋早春迟,千百年来灾异频繁、民习艰苦。独具环县民间艺术特色的道情皮影小戏,却以其强大的生命力在陇东的崇山峻岭、沟谷峁梁之间活跃了百余年之久,因而环县道情皮影又称“陇东道情”。环县道情皮影在经历了上世纪八十年代之前的发端期、八十年代至世纪末的深化期和兴盛期、以及21世纪之后的全面拓展期,如今逐渐走向衰败,式微已经成为不争的事实。
本文选择环县当地四大皮影戏班之史家班为研究对象,通过文献法、田野调查法,个案访谈法(口头采访)对史家班四代艺人的传承传艺谱系作了深入的调查和分析。探讨在如此落后的西北一隅之地,如何有这样瑰丽奇葩的民间艺术?当地百姓为何选择这样一种艺术形式?艺人之间如何传承才使得其至今保存的尚且完整?发展到今天,环县道情皮影的生存现状如何?被列为世界级非物质文化遗产的环县道情皮影,其开发、传承和保护工作进展如何,其效果又如何?
经过实地的考察和访谈,笔者看到伴随着社会的变迁、科学技术的发展、替代性文化形态的出现以及传承人的断档,环县道情皮影正濒临着灭亡的边缘。本文试图通过对史家戏班这个个案来分析研究与其相符合的历史时代特征,并对环县道情皮影整体衰败的原因做详实的记录。
除绪论与结语之外,全文共分为五章,第一章介绍当地的历史文化和地理环境,寻找环县道情皮影生存的时空、文史背景,同时也交代笔者的书写立场。第二章从历史的角度探析环县道情皮影的源起和发展,并以实地考察情况来分析其生存的现状。第三章选取百年戏班史家班为研究对象,真实记录环县道情皮影在史家班四代艺人中的传承过程。第四章用新闻传播学的理论方法分析环县道情皮影的传播现状。第五章,分析其衰败的原因,指出其传承保护所存在的局限性,并阐述笔者对此的看法。
Huan county is located in the farming-pastoral zone of the North China, where the wind is wild and the soil is poor because of the irregular seasons and the frequent disasters. People have been suffering with poverty for thousands of years. However, with unique folk art characteristics and its strong vitality, the Huan County Taoism shadow plays have been animating for hundreds of years among the high mountains and the lofty hills of Longdong, which is also called "Daoqing longdong". Daoqing shadow plays had experienced the initiation period before the80s of the last century. During the80s of the last century, it met the deepening development of the plays. In the end of the last century, the plays received the period flourishing, and the comprehensive development after the21st Century. Nevertheless, it has become an indisputable fact that the plays are confronted with gradually decline nowadays.
The object of the study is Shi Jiaban which is one of the four local shadow play troupes.The author takes advantages of the literature analysis, field survey and case interviews (oral interviews) on the transmission spectrum of a class of four generations of artists to make in-depth investigation and analysis. How does this magnificent folk art survive on such poor and small plot of land in the northwest of China? Why do the locals choose such an art form? Which methods do they use among the artists to guarantee the safety of the inhabitation? What are the survival circumstances of the Huan County shadow? What are the statuses of the development, the inheritance and the protection work of Daoqing shadow play which is listed as one of the world intangible cultural heritages? And are there any effects after so many measures are taken on the plays?
With the development of science and technology, it appears the alternative forms of culture and the out stock of heritage people, and Daoqing shadow play is facing with the edge of extinction. This paper attempts to analyze the historical reasons of Daoqing shadow play by case analysis of Shi Jiaban. In addition, the reasons of the decline of the play will be detailed analyzed.
In addition to the introduction and the conclusion, the thesis is divided into five chapters:the first chapter introduces the local history, cultural and geographical environment of the play, tries to find the survival space and the historical background of the Huan County shadow, and also to explain the author's writing standpoint. With origin and development be analyzed from the historical prospect, the survival circumstances of the Daoqing shadow play will be analyzed in the second chapter. In the third chapter, with Shi Jiaban which has one hundred years history as the study object, it will fully record the inheritance process of the play during four generations of artists. In chapter four, the communication status of Daoqing shadow will be analyzed by using theory and method of the journalism and communication. In chapter five, the author will analyse the reasons of decline of the play, and studies the intrinsic and extrinsic factors for its sustainable development, hoping to provide methods for the problem.
本文选择环县当地四大皮影戏班之史家班为研究对象,通过文献法、田野调查法,个案访谈法(口头采访)对史家班四代艺人的传承传艺谱系作了深入的调查和分析。探讨在如此落后的西北一隅之地,如何有这样瑰丽奇葩的民间艺术?当地百姓为何选择这样一种艺术形式?艺人之间如何传承才使得其至今保存的尚且完整?发展到今天,环县道情皮影的生存现状如何?被列为世界级非物质文化遗产的环县道情皮影,其开发、传承和保护工作进展如何,其效果又如何?
经过实地的考察和访谈,笔者看到伴随着社会的变迁、科学技术的发展、替代性文化形态的出现以及传承人的断档,环县道情皮影正濒临着灭亡的边缘。本文试图通过对史家戏班这个个案来分析研究与其相符合的历史时代特征,并对环县道情皮影整体衰败的原因做详实的记录。
除绪论与结语之外,全文共分为五章,第一章介绍当地的历史文化和地理环境,寻找环县道情皮影生存的时空、文史背景,同时也交代笔者的书写立场。第二章从历史的角度探析环县道情皮影的源起和发展,并以实地考察情况来分析其生存的现状。第三章选取百年戏班史家班为研究对象,真实记录环县道情皮影在史家班四代艺人中的传承过程。第四章用新闻传播学的理论方法分析环县道情皮影的传播现状。第五章,分析其衰败的原因,指出其传承保护所存在的局限性,并阐述笔者对此的看法。
Huan county is located in the farming-pastoral zone of the North China, where the wind is wild and the soil is poor because of the irregular seasons and the frequent disasters. People have been suffering with poverty for thousands of years. However, with unique folk art characteristics and its strong vitality, the Huan County Taoism shadow plays have been animating for hundreds of years among the high mountains and the lofty hills of Longdong, which is also called "Daoqing longdong". Daoqing shadow plays had experienced the initiation period before the80s of the last century. During the80s of the last century, it met the deepening development of the plays. In the end of the last century, the plays received the period flourishing, and the comprehensive development after the21st Century. Nevertheless, it has become an indisputable fact that the plays are confronted with gradually decline nowadays.
The object of the study is Shi Jiaban which is one of the four local shadow play troupes.The author takes advantages of the literature analysis, field survey and case interviews (oral interviews) on the transmission spectrum of a class of four generations of artists to make in-depth investigation and analysis. How does this magnificent folk art survive on such poor and small plot of land in the northwest of China? Why do the locals choose such an art form? Which methods do they use among the artists to guarantee the safety of the inhabitation? What are the survival circumstances of the Huan County shadow? What are the statuses of the development, the inheritance and the protection work of Daoqing shadow play which is listed as one of the world intangible cultural heritages? And are there any effects after so many measures are taken on the plays?
With the development of science and technology, it appears the alternative forms of culture and the out stock of heritage people, and Daoqing shadow play is facing with the edge of extinction. This paper attempts to analyze the historical reasons of Daoqing shadow play by case analysis of Shi Jiaban. In addition, the reasons of the decline of the play will be detailed analyzed.
In addition to the introduction and the conclusion, the thesis is divided into five chapters:the first chapter introduces the local history, cultural and geographical environment of the play, tries to find the survival space and the historical background of the Huan County shadow, and also to explain the author's writing standpoint. With origin and development be analyzed from the historical prospect, the survival circumstances of the Daoqing shadow play will be analyzed in the second chapter. In the third chapter, with Shi Jiaban which has one hundred years history as the study object, it will fully record the inheritance process of the play during four generations of artists. In chapter four, the communication status of Daoqing shadow will be analyzed by using theory and method of the journalism and communication. In chapter five, the author will analyse the reasons of decline of the play, and studies the intrinsic and extrinsic factors for its sustainable development, hoping to provide methods for the problem.
引文
1引自《环洲灯影》王立洲,2011年7月版。
1陈志进：“甘肃之灯影戏”,《申报》,1925年10月12日,本埠增刊。
2董蛙：“关于影子戏的利用和改造”；范景宇：“流行最广的民间‘小戏’：牛皮影子”；“陇东改造皮影子戏”；黎静：“三五八旅的‘影戏团’”：陈叔亮：介绍三边的新幻灯和新皮影戏”；“五旅改造皮影子戏反应现实生活”；田益荣：“关于皮影的剧本创作”。
31937至1945年曲子、环县为两县,归陕甘宁边区庆环分区所辖(参严艳：《陕甘宁边区经济发展于产业布局研究》,北京：中国社会科学出版社,2007)。
1王正强：《陇剧音乐研究》,人民音乐出版社,1999,第69页。
1范景宇：“流行最广的民间‘小戏’：,牛皮影子”,《解放日报》,1944-1O-3,第四版。
1高建邦：《陇东道情音乐》(油印),1979.
2高建邦：《道情皮影戏探源”,《陇东报》,2007-9-16第四版。
3康秀林：“环县1高建邦：《陇东道情音乐》(油印),1979。
1引自笔者采访手记。
1国发(2005)42号,国务院关于加强文化遗产保护的通知[国务院文件].青海政报,2006(1)：22-25。
1引自笔者采访手记。
2引自笔者采访手记。
3史学杰(1909-1984)环县木钵镇关营村史家沟人,生于1909年夏历五月初一,稍识字。
1(古希腊)亚￥.士多德(Aristot6fe)政治学(第八卷)[M].朱光潜译,见伍SfS'.西方文论选(上卷)[M].上海：上海译文出版社.1979：p96。
2黎翔风撰,梁运华整理.管于校注[M].上海：中华.2004。
3(法)狄德罗(Denis Diderot)论戏剧诗[M].徐继曾,陆达成译,见狄德罗∧学论文选[M].北京：人民文学出版社.1984：p137。
1贺学军.关于非物质文化遗产保护的理论思考[J].江两社会科学,2005(2)：104。
1覃德清.多.s力量制衡中的民族民间文化保护和开发一以广西若千民族文化艺术资源开发个案为例[J].民间文化论坛,2005(1)：63。
[1]环县道情皮影志编纂委员会编.环县道情皮影志[M].兰州：甘肃文化出版社.2006年9月第一版.29.
[2]甘肃省环县《环县道情皮影》编委会.环县道情皮影[M].北京：中国社会出版社.2006年10月第一版.
[3]王立洲.环洲灯影[M].庆阳：庆阳市亨科彩印包装有限公司.2005.
[4]陈希祥.影神[M].哈尔滨：北方文艺出版社.2008.
[5]黎翔风撰,梁运华整理.管于校注[M].上海：中华书局.2004.
[6](法)丹尼斯·狄德罗(Denis Diderot,徐继 陆达成译.狄德罗美学论文选[M].北京：人民出版社.1984.
[7]李恒基,杨远婴.外国电影理论文选[M].上海：上海文艺出版社.1995.
[8](美)尼尔·波兹曼(Neil Postman)著,章艳泽.奴乐至死[M].桂林：广西师范大学出版社.2004.
[9](美)尼尔·波兹曼(Neil Postman),燕莛译.童年的消逝[M].桂林：广西师范人学出版社.2004.
[10](意)安东尼奥·葛兰西(Antonio Gramsci),曹雷雨等泽.狱中札记[M].北京：中国社会科学出版社.2000.
[11](英)安东尼·吉登斯(Anthony Giddens)著,赵力涛译.民族国家与暴力[M].上海：三联书店.1998.
[12](美)保罗·康纳顿(Paul Connerton)著.社会如何记忆[M].上海：上海人民出版社.2000.
[1]黄虎.悲情嘛簧灯影人生[博士论文].上海：上海音乐学院.2010.
[2]荣梅.灯影里的绝唱：环县道情皮影艺术考.[硕士论文].2005.
[3]党桂梅.史家道情皮影戏班研究.[硕士论文].2007.
[4]周璟.环县道情皮影戏打击乐调查与初步研究.[硕士论文].兰州：西北师大学.2007.
[5]范琳琳.陇东道情考察研究及其价值探究.[硕士论文].2007.
[6]晏小东.环县道情皮影戏板路唱腔音乐研究.[硕士论文].兰州：西北师范大学.2007.
[7]何丽.环县道情皮影文场乐队的调查与初步研究.[硕士论文].兰州：西北师范大学.2007.
[8]方晓.环县道情皮影解家戏班的田野调查与研究.[硕士论文].兰州：西北师范大学.2008.
[9]杨懿静.甘肃环县道情皮影戏研究：跟随敬家班的脚步.[硕士论文].广州：星海音乐学院.2008.
[10]李萍.戏剧人类学及其视野下的环县道情皮影戏.[硕十论文].兰州：：兰州大学.2007.
[11]李勇丽.现代语境下环县道情皮影戏的民俗学解析.[硕士论文].兰州：西北民族大 学.2007.
[12]杨静.仪式与表演：人神共娱到生存与追求——人类学视野下的环县道情皮影戏.[博士论文].2009.
1陈志进：“甘肃之灯影戏”,《申报》,1925年10月12日,本埠增刊。
2董蛙：“关于影子戏的利用和改造”；范景宇：“流行最广的民间‘小戏’：牛皮影子”；“陇东改造皮影子戏”；黎静：“三五八旅的‘影戏团’”：陈叔亮：介绍三边的新幻灯和新皮影戏”；“五旅改造皮影子戏反应现实生活”；田益荣：“关于皮影的剧本创作”。
31937至1945年曲子、环县为两县,归陕甘宁边区庆环分区所辖(参严艳：《陕甘宁边区经济发展于产业布局研究》,北京：中国社会科学出版社,2007)。
1王正强：《陇剧音乐研究》,人民音乐出版社,1999,第69页。
1范景宇：“流行最广的民间‘小戏’：,牛皮影子”,《解放日报》,1944-1O-3,第四版。
1高建邦：《陇东道情音乐》(油印),1979.
2高建邦：《道情皮影戏探源”,《陇东报》,2007-9-16第四版。
3康秀林：“环县1高建邦：《陇东道情音乐》(油印),1979。
1引自笔者采访手记。
1国发(2005)42号,国务院关于加强文化遗产保护的通知[国务院文件].青海政报,2006(1)：22-25。
1引自笔者采访手记。
2引自笔者采访手记。
3史学杰(1909-1984)环县木钵镇关营村史家沟人,生于1909年夏历五月初一,稍识字。
1(古希腊)亚￥.士多德(Aristot6fe)政治学(第八卷)[M].朱光潜译,见伍SfS'.西方文论选(上卷)[M].上海：上海译文出版社.1979：p96。
2黎翔风撰,梁运华整理.管于校注[M].上海：中华.2004。
3(法)狄德罗(Denis Diderot)论戏剧诗[M].徐继曾,陆达成译,见狄德罗∧学论文选[M].北京：人民文学出版社.1984：p137。
1贺学军.关于非物质文化遗产保护的理论思考[J].江两社会科学,2005(2)：104。
1覃德清.多.s力量制衡中的民族民间文化保护和开发一以广西若千民族文化艺术资源开发个案为例[J].民间文化论坛,2005(1)：63。
[1]环县道情皮影志编纂委员会编.环县道情皮影志[M].兰州：甘肃文化出版社.2006年9月第一版.29.
[2]甘肃省环县《环县道情皮影》编委会.环县道情皮影[M].北京：中国社会出版社.2006年10月第一版.
[3]王立洲.环洲灯影[M].庆阳：庆阳市亨科彩印包装有限公司.2005.
[4]陈希祥.影神[M].哈尔滨：北方文艺出版社.2008.
[5]黎翔风撰,梁运华整理.管于校注[M].上海：中华书局.2004.
[6](法)丹尼斯·狄德罗(Denis Diderot,徐继 陆达成译.狄德罗美学论文选[M].北京：人民出版社.1984.
[7]李恒基,杨远婴.外国电影理论文选[M].上海：上海文艺出版社.1995.
[8](美)尼尔·波兹曼(Neil Postman)著,章艳泽.奴乐至死[M].桂林：广西师范大学出版社.2004.
[9](美)尼尔·波兹曼(Neil Postman),燕莛译.童年的消逝[M].桂林：广西师范人学出版社.2004.
[10](意)安东尼奥·葛兰西(Antonio Gramsci),曹雷雨等泽.狱中札记[M].北京：中国社会科学出版社.2000.
[11](英)安东尼·吉登斯(Anthony Giddens)著,赵力涛译.民族国家与暴力[M].上海：三联书店.1998.
[12](美)保罗·康纳顿(Paul Connerton)著.社会如何记忆[M].上海：上海人民出版社.2000.
[1]黄虎.悲情嘛簧灯影人生[博士论文].上海：上海音乐学院.2010.
[2]荣梅.灯影里的绝唱：环县道情皮影艺术考.[硕士论文].2005.
[3]党桂梅.史家道情皮影戏班研究.[硕士论文].2007.
[4]周璟.环县道情皮影戏打击乐调查与初步研究.[硕士论文].兰州：西北师大学.2007.
[5]范琳琳.陇东道情考察研究及其价值探究.[硕士论文].2007.
[6]晏小东.环县道情皮影戏板路唱腔音乐研究.[硕士论文].兰州：西北师范大学.2007.
[7]何丽.环县道情皮影文场乐队的调查与初步研究.[硕士论文].兰州：西北师范大学.2007.
[8]方晓.环县道情皮影解家戏班的田野调查与研究.[硕士论文].兰州：西北师范大学.2008.
[9]杨懿静.甘肃环县道情皮影戏研究：跟随敬家班的脚步.[硕士论文].广州：星海音乐学院.2008.
[10]李萍.戏剧人类学及其视野下的环县道情皮影戏.[硕十论文].兰州：：兰州大学.2007.
[11]李勇丽.现代语境下环县道情皮影戏的民俗学解析.[硕士论文].兰州：西北民族大 学.2007.
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