Beijing Storytelling Book Field

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.