北京评书的书场研究

【作者】 杨旭东；

【导师】 邢莉；

【作者基本信息】 中央民族大学 ， 民俗学， 2011， 博士

【摘要】 评书,俗称“说书”,新中国成立之后,被归入“曲艺”门类,是一门古老的民间说唱艺术,其雏形说、唱两种表演形式兼有,后发展成为一种以“讲故事”为主的口头表演艺术。本选题以当代北京评书的书场为研究对象,以位于北京后海康龄轩茶馆为调查点,对北京评书艺人马岐师徒的说书活动进行观察,对书场中的艺人、观众进行访谈,意在呈现一个不同于大众传统观念中的评书表演。通过这样一个呈现,希望引起学界对于民间说唱的关注,能够纠正当下民俗学、民间文学研究中以文本为中心的偏向,将评书文本置于茶馆的现场语境中,力图从生动活泼的现场表演中寻找对民间文化的一种新的理解视角,同时,对这样一个曾经在广大民众的精神生活中扮演重要角色的曲艺门类的生存规律进行积极的探索,思考在电子化、数字化的新媒介时代,传统民间文艺形式如何吸纳新的时代话语、借用新的技术手段,实现它与现代生活的有效衔接,探讨如何在多元文化的背景下让这种传统的草根艺术向现代化顺利过渡,延续都市文化的生命力。全文共分为绪论、正文和结语三部分,其中第一至五章为正文部分。第一章概述北京评书的文化生态,在对北京评书的历史进行简短梳理和界定之后,着重介绍了北京的城市文化品格与曲艺文化之间的渊源,以及当下北京的曲艺生存现状反映出评书所面临的困境。第二章是从历时的角度,反应各个历史时期评书表演在时空设置上的差异,分析其时空设置不断变化的原因。特别是在新的时代背景下,艺人和观众高度一致地要求包括评书在内的各种曲艺表演形式“回归现场”,其背后隐含着民间艺术在生存发展过程中最终实现对自身规律的一种遵循。第三章回到书场中来,说书作为一种表演,它的完整性体现在对艺人和书座两个方面,缺少了任何一方都不足以构成一个完整的演出场景。因此,本章主要从艺人和观众两个方面重点关注他们在书场内外的生活形态、人生经历对个性化的说书者、懂行的听书者所产生的巨大影响。除此之外,也将书场的经营者、同行以及多种角色的“我”置于书场之中来观察。第四章阐述了评书书场的另外一个重要功能,即传承。书场不仅是艺人展示自己表演能力的时空,是书座精神享受的场所,也是评书得以传承延续的最佳文化空间。对于说书艺术而言,虽然已经职业化,但其民间传承的性质并未发生改变,通过长时间在书场的熏陶、体验、实践和师傅的点拨,艺人才能够继承评书的表演技艺。书场提供了观摩学习、实践锻炼的平台。但是目前对于书场传承的研究还过于粗糙。第五章开始转入对评书表演过程的分析。由于书场是一个动态变化的场域,完全把握全场演出存在着一定的难度。首先制定了一套调查研究方案,力图突破对评书现场进行调查的困局。在这一方案的指引下,对于书场的场景以及其情境化过程进行了分类和介绍。在这样的情境化语境下,我们将说书过程中的每一个重要环节放置到具体的情境中,结合艺人的个性特征,来分析表演的完成、文本的生成、观众的反应、艺人的操控等各个方面之间的互动关系。论文最后在结语部分,一方面,对理查德·鲍曼提出的表演理论进一步的反思和补充,认为表演理论中存在将“表演”的外延宽泛化的倾向,表演性并非民俗学、民间文学的一个基本属性,同时,作为一种交流性阐释框架,需要表演者和观众两个基本要素作为支点,表演理论虽然赋予了观众品评的职能,但是在实际的研究中以表演者为核心,缺少“观众”维度。表演的过程不仅仅是一个信息交流的过程,也是表演者和观众共享的过程。另一方面,对民间说唱的生存发展规律进行了思考,放归民间,激发民间说唱的活力,走平民化道路,在说书的现场恢复传统评书的生命力将是传统说书继续生存的必由之路。更多还原

【Abstract】 Storytell-commenting is called Shuoshu conventionally.After the People’s Republic of China founded,it is also called Chinese Folk Art by a joint name.Storytell-commenting is a long-standing folk art,whose embryonic form includes telling and singing,gradually develops into oral performing art mainly as telling form.The object of this study focuses on contemporary live demonstration of Beijing Storytell-commenting,mainly observing an old storyteller Ma Qi and his apprentice’s performance basing on Kanglingxuan Teahouse in Houhai distract.Meanwhile,visiting and asking the folk artist and audience at present is the important job for our study.The aim is to present a performing oral art and make a distinction between textual storytelling and oral performing storytelling.By this way, we hope that folk art could be given more attention and work for rectifying a deviation about textual tendency. We put the storytell-commenting into performing context,and attempt to find a new point of view to further understand folk art form its live and vigorous demonstration.As Chinese folk art having played an important role in the mass’ daily life,we also positively probe into its law of development,pondering on how the traditional folk art absorb new fashion words and utilize new science and technology in electrical and digital medium times.At the same time,we also consider how to join the traditional folk art with modern life,and explore how to help it suit to modern society,and prolong city culture’s life.The whole paper consists of three parts,including introduction,main body and conclusion,in which the main body is divided into five chapters.The first chapter describes Beijing Storytell-commenting’s cultural ecology.After introducing the history of Beijing Storytell-commenting and the distinction between Pingshu,Shuoshu and other names.The key part is about the relationship between Beijing’s character and Chinese folk art.Especially the embarrassment of Beijing Storytell-commenting reflected by Beijing folk art’s present situation. The second chapter mainly introduces Beijing Storytell-commenting’s space-time arrangement in different historical periods,and analyses the reason caused its development in space-time arrangement.In the new background characteristic of times, actors and audiences unanimously pursue enjoying Beijing Storytell-commenting and other Chinese folk art performance by live demonstration,which means that the mass are continuously exploring the law of Chinese folk art’s development and finally follow it after undergoing a long process of fumble.In the third chapter,we return to the tea house. As a kind of performance, integrated Shuoshu Art should be studied from angles of actor and audience.If anyone was neglected,the concerned one can not make up of a full performance scene.Therefore, this chapter pays more attentions to their life and personal experience about actor and audience,and observe how those affluence actor’s performance and audience’s appreciation in the tea house.Besides them,tea house manager,other Shuoshu actors and many roles that "I" play also should be concerned.The forth chapter explains another function of tea house that is succession of Beijing Storytell-commenting.The tea house is not only the place for actor’s performance and audience’s enjoyment,but also the best culture space for Beijing storytell-commenting’s succession.Although Shuoshu had been professional for a long time,its folk character is not changed.The way of folk actors learning to perform Shuoshu still depend on traditional master-apprentice relationship.Influenced for a long time in the tea house,the young actor gradually accept many Beijing storytell-commenting knowledge,adding to their experience and practice constantly,finally master the skill of Shuoshu.In the process,the tea house provides a good stage for the apprentice observing and practicing performance Shuoshu.But the study about Beijing storytell-commenting’s succession is too rough,we need give more concern to it.The fifth chapter turns to analyse the process of Shuoshu performance.Because the tea house is a varing space,it is hard to control the whole performance process,we make a plan firstly for our investigation,in order to break through the live demonstration at field work.Leading by the plan,we introduce the performance scene and classify the process of embodying.In the embodying context,we put every important part in detailed context,combining actor’s personality with completion of performance,production of new text,response of audience,operation of actor to analyse their interactive relationship.The last part is conclusion. On one side,we think over Richard Bauman’s performance theory again and replenish it.Actually,performance theory extend "perform’"s category,"perform" is not a basic character of folklore and folk literature,so this theory is not suitable to any folk items.As a interchanging frame,performance is made up of tow fulcrums:one is actor,another is audience.Although the audience is vested with responsibility for commenting actor’s performance,the study focus on actor’s performance,less concern about the audience.Performance is not only a process of exchanging information,but they share it. On the other side,we also think over about the law of folk art’s development.According to above study,we consider that regaining its folk character,serving the mass and performing in the tea house,all of which will be the only way of traditional Shuoshu’s existence in the future.更多还原