中国当代民间说唱艺术的生存与经营  

On the Existence and Management of Folk Story Telling and Singing Art in Modern China

作　　者：陈建华[1] 

机构地区：[1]泰山学院文学院,山东泰安271021

出　　处：《宁波大学学报（人文科学版）》2013年第4期123-128,共6页Journal of Ningbo University：Liberal Arts Edition

基　　金：2010年教育部人文社会科学研究一般项目(10YJC760004);2008年山东省社会科学规划项目(08JDD010);2012年山东省高等学校人文社会科学研究项目(J12WK69);2012年山东省艺术科学重点项目

摘　　要：中国民间说唱艺术是中国文学和各类艺术的母体,孕育了小说、戏曲等,并对音乐和舞蹈等有明显影响,研究价值较大。新中国建立了社会主义新经济体系,民间说唱艺术原有的市场体系被改造。政府通过"划分经济成分"等行政手段改造了说唱艺人,说唱表演场所也被国有化。说唱艺术创作体系被国有化改造,创作者的利益难以保证,生产体系被阻断。改革开放后,说唱艺术的国有经济体系逐步变革,说唱艺术团队多采用双轨制经营。部分民营团队回归传统经营方式,借鉴了现代市场化的经营,生存状况得到改善。The folk story telling and singing art is the parent of Chinese literature and other arts like novels and plays. It has also made a notable influence upon music and dance. With the establishment of the new socialist economy after 1949, the market economy of the Chinese folk story telling and singing underwent a deep reform by the government. As the result, the folk story tellers and singers were reformed and their show places were nationalized by administrative measures. With the nationalizing reform of the artistic creative system, the interest of the artistic cl^ators was affected and the productive system was blocked off. After the reform and opening to the outside world, there has appeared a change to the nationalized economy of the story telling and singing art. A majority of performance troupes once again adopt the double-track management system. Some private performance teams return to the traditional management of market economy, which has brought forth improvement for the conditions of the folk story tellers and singers.

关 键 词：民间说唱艺术 生存 经营 

分 类 号：J826[艺术—戏剧戏曲]