本文選題：延安時期 + 陜北說書��； 參考：《延安大學》2017年碩士論文

【摘要】：本文從歷史與現(xiàn)實兩個維度,以中國近現(xiàn)代史基本問題的研究視角,研究與探索被列入國家非物質(zhì)文化遺產(chǎn)名錄的陜北說書的傳承、改造、創(chuàng)新與發(fā)展問題。首先系統(tǒng)梳理了陜北說書的歷史演變、內(nèi)容特色與藝術特征。指出其是陜北地域文化的“活化石”、陜北農(nóng)村民間的“敘事詩”。作為陜北民間的一種說唱藝術,其內(nèi)容生動詳實的反映了當時當?shù)厝嗣袢罕姷纳詈蛢r值觀。同時,也是陜北廣大人民群眾,特別是鄉(xiāng)村農(nóng)民了解和認識中國歷史的主要渠道,以及鄉(xiāng)村倫理道德培育的主要方式。由于其是民間歷史,鄉(xiāng)村倫理道德的主要傳播者和培育者,加之其語言、音樂及表演形式極富陜北特色,所以非常受陜北群眾,特別是鄉(xiāng)村農(nóng)民的喜愛,成為陜北民間主要的藝術形式,具有傳承、改造、創(chuàng)新與發(fā)展的重大價值。延安時期是陜北說書發(fā)展史上的里程碑,延安時期對陜北說書的改造對于陜北說書的發(fā)展具有承上啟下的重要作用。延安時期對陜北說書的改造具有陜甘寧邊區(qū)政府的成立、新民主主義文化的思想理論與方針政策、文化工作的統(tǒng)一戰(zhàn)線政策、延安整風運動與新民主主義文化的發(fā)展和陜北說書當時的發(fā)展狀況等方面的歷史前提。離開這些前提就不可能有對陜北說書的改造與創(chuàng)新。延安時期對陜北說書的改造主要是沿著文藝大眾化、“舊瓶裝新酒”、專業(yè)文藝工作者的指導幫助、黨的領袖的親自關懷指導,以及以陜北民間說書大師韓起祥等作為典范與榜樣,這樣的邏輯關系展開,既取得了輝煌的成就,也不可避免地具有歷史局限。其基本經(jīng)驗表現(xiàn)在五個方面:民間藝術的改造必須堅持正確地指導思想;民間藝術的改造必須扎根于人民群眾的現(xiàn)實生活;民間藝術的改造必須依靠民間藝人、尊重傳統(tǒng)、保持基本的藝術特色;民間藝術的改造首先是對民間藝人的思想的改造,核心是表現(xiàn)內(nèi)容的改造;民間藝術的改造要以提高民間藝人的政治經(jīng)濟地位為基礎。通過田野調(diào)查,在理清陜北說書發(fā)展現(xiàn)狀的基礎上,我們發(fā)現(xiàn)陜北說書的發(fā)展現(xiàn)狀不容樂觀。存在著后繼無人、沒有創(chuàng)作隊伍、難以占領城市舞臺等問題和困境。要解決這些問題和困境,必須回望延安時期對陜北說書改造的歷史,從延安時期尋求力量、信心、經(jīng)驗與啟示。必須重視陜北說書的發(fā)展,堅持文化自信,堅持陜北說書的自信;采用兩條腿走路的方針,演出團體既有官辦,又有民辦,而且主力軍是民辦團體;將陜北說書與陜北的旅游項目結合起來,在尊重原有藝術特色的基礎上,大膽創(chuàng)新,與時俱進;采取政府購買的形式,像扶持戲曲一樣,政府采購劇本,提供給民間說書團體演出;提高藝人們的政治經(jīng)濟地位,利用政府引導,讓年輕人看到說書藝人的光明前景。
[Abstract]:From the two dimensions of history and reality, this paper studies and explores the inheritance, transformation, innovation and development of the narrative books of Northern Shaanxi, which are included in the list of national intangible cultural heritage, from the perspective of the basic problems of Chinese modern and modern history. First of all, it systematically combs the historical evolution, content characteristics and artistic features of the narrative books in Northern Shaanxi. It is pointed out that it is a living fossil of regional culture in northern Shaanxi and a narrative poem of rural folk in northern Shaanxi. As a kind of folk rap art in Northern Shaanxi, its contents vividly reflect the life and values of the local people at that time. At the same time, it is also the main channel for the broad masses of people, especially the rural peasants, to understand and understand the history of China, and the main way to cultivate rural ethics and morality. Because it is a folk history, the main disseminator and cultivator of rural ethics and morality, plus its language, music and performance forms are extremely rich in the characteristics of Northern Shaanxi, it is very popular among the masses of Northern Shaanxi, especially rural farmers. As the main folk art form in Northern Shaanxi, it has great value of inheritance, transformation, innovation and development. Yan'an period is a milestone in the history of the development of the storytelling in Northern Shaanxi. The transformation of the storytelling in the Yanan period plays an important role in the development of the storytelling in Northern Shaanxi. The transformation of the narrative books in northern Shaanxi during Yan'an period included the establishment of the government of the Shensi-Kansu-Ningsia Border region, the ideological theory and principles and policies of the new democratic culture, and the United front policy of cultural work. The historical premise of Yan'an rectification movement and the development of new democratic culture and the development of the narrative of Northern Shaanxi at that time. Without these premises, it is impossible to reform and innovate the narrative books in Northern Shaanxi. During the Yan'an period, the transformation of the narrative books in northern Shaanxi was mainly along the lines of the popularization of literature and art, the "old bottles of new wine", the guidance and assistance of professional writers and artists, and the personal care and guidance of the party leaders. Taking Han Qixiang, a folk storyteller in Northern Shaanxi, as a model and example, such logical relations have not only made brilliant achievements, but also inevitably have historical limitations. Its basic experience is manifested in five aspects: the transformation of folk art must adhere to the correct guiding ideology, the transformation of folk art must take root in the real life of the masses of the people, the transformation of folk art must rely on folk artists and respect tradition, The transformation of folk art should be based on the improvement of the political and economic status of folk artists. Based on the field investigation, we find that the present situation of the development of the storytelling in Northern Shaanxi is not optimistic. There are no successor, no creative team, difficult to occupy the city stage and other problems and dilemmas. In order to solve these problems and difficulties, we must look back at the history of Yan'an 's reform of the narrative books in Northern Shaanxi, and seek strength, confidence, experience and enlightenment from the Yan'an period. We must attach importance to the development of the storytelling in Northern Shaanxi, insist on cultural self-confidence and confidence in the storytelling of Northern Shaanxi, adopt the policy of walking on two legs, the performing groups are both official and private, and the main force is the non-governmental organizations. Combining the storytelling of Northern Shaanxi with tourism projects in northern Shaanxi, on the basis of respecting the original artistic characteristics, boldly innovating and keeping pace with the times; taking the form of government purchase, like supporting opera, the government buys scripts. To perform in folk storytelling groups; to raise the political and economic status of artists and to use government guidance to show young people the bright future of storytellers.
【學位授予單位】：延安大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J826;K26

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本文編號：1949534