从艺校教学到师徒传承——兼论恢复柳琴戏师徒传承模式的价值和意义  

Research on the Significance and Value of Apprenticeship Reconstruction in Liuqin String Opera——From Teaching in Art School to Apprenticeship

作　　者：李春颖[1] 

机构地区：[1]徐州工程学院艺术学院

出　　处：《黄钟（武汉音乐学院学报）》2016年第4期119-124,131,共7页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：作为国家级非物质文化遗产代表作的柳琴戏,自清末产生以来一直沿用口传心授的传承方式,然而这种传承方式自20世纪50年代的"戏改"以来被戏校这种集中授课的师生培养模式所取代。传承体制的变革给柳琴戏的发展带来了新活力,同时也产生了一系列问题。笔者对柳琴戏的学校集中授课和师徒传承进行比对分析,认为在当今社会恢复传统口传心授的师徒传承模式仍具有重要意义和深远价值,应视为传承保护的重中之重。As one of the National Intangible Cultural Heritage,Liuqin String Opera has been carrying out the approach of mentoring to cultivate a lot of outstanding artists,who are highly skilled with unique solo singing,making Liuqin String Opera the primary one in the lower Reaches of Yellow River.However,this traditional approach has been replaced by the centralism teaching in the art school since 1950s.This transformation has brought some vigor to the development of Liuqin String Opera.Meanwhile,there are also some issues and problems.Considering the characteristic of the traditional opera,a comparative analysis has been made in this paper between the two ways of teaching,apprenticeship and centralism teaching,in which the significance and value of apprenticeship has been emphasized as the key to protect the traditional art.

关 键 词：柳琴戏 师徒制 艺校教学 传承模式 

分 类 号：J607[艺术—音乐]