| It is an important part of China’s intangible cultural heritage,and has experienced a development process from rituals,songs and dances to puppetry,from entertaining gods to entertaining people,from rituals to folk customs.China’s puppet opera is mainly distributed in the middle and lower reaches of the Yangtze River in Guizhou,Hunan,Jiangxi,Anhui and other places,of which Shaoyang,located in the Xiangzhong region,is one of the well-preserved areas of puppet opera in Hunan.At present,the academic community pays less attention to the puppet opera in Shaoyang area,and the research on the overall status of the puppet opera in Shaoyang area is also relatively lacking.Therefore,this paper takes the form of field surveys and questionnaires to investigate the current situation of puppet opera in Shaoyang area.Since the time,object of sacrifice,sacrifice process,sacrifice mask and sacrifice crowd of various ethnic groups are different in various parts of Shaoyang,the puppet opera in Shaoyang area has been divided into ethnic groups since ancient times,and can be divided into Han puppet opera,Miao puppet opera and Yao puppet opera.With the development of modern science and technology and transportation,the assimilation of cultural customs between various regions is the general trend of the development of the times,in this context,whether Shaoyang opera is also gradually moving towards integration is also the key to discussion in this article.First of all,on the basis of the research data of the predecessors,from October2021 to January 2022,the author conducted many field visits and surveys of puppet operas in shaoyang,recorded in detail the current performance process,performance repertoire,performance props and other existing conditions of various ethnic minorities,and basically grasped the development status of Han,Miao and Yao puppet operas.Although with the development of the times,the production and lifestyle of various ethnic groups in Shaoyang area have gradually converged,there are still major differences in the performance process,performance masks,and objects of sacrifice of various ethnic groups,that is,the puppet operas of various ethnic groups still retain strong ethnic characteristics and have not been integrated with the development of the times.Secondly,the author also conducted face-to-face interviews with the inheritors,practitioners and responsible persons of the intangible cultural heritage protection authorities of Shaoyang opera.Through the interview,it was found that there are commonalities and differences in the development dilemma faced by the inheritors of puppet opera and puppet opera in various regions of Shaoyang: the commonalities such as the age of the inheritors are too old and lack of heirs,etc.;the differences such as the influence of local puppet opera in local folklore,and the income of puppet opera inheritors.Finally,based on the results of the above field research,in view of the current dilemma faced by the puppet opera in Shaoyang,based on the current actual situation of the puppet opera in various places,and combined with the relevant policies of the state on the protection of traditional culture and cultural heritage,the author puts forward corresponding suggestions and coping strategies,in order to better protect and inherit the puppet opera in Shaoyang area. |
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