亡羊补牢,未为迟也——当下苏北地区柳琴戏传承与发展调查研究  

Better Late Than Never:Investigation and Study on the Inheritance and Development of Liuqin Drama in the Northern Jiangsu Area

作　　者：张宇航[1] 赵宴会[1] ZHANG Yu-hang;ZHAOYan-hui(School of Music,Nanjing Normal University,Nanjing 210024)

机构地区：[1]南京师范大学音乐学院,江苏南京210097

出　　处：《艺术百家》2022年第3期118-127,共10页Hundred Schools In Arts

基　　金：国家社科基金艺术学一般项目“中华音乐文化多元一体发展史综合研究”(项目编号:19BD047)阶段性成果。

摘　　要：柳琴戏是流行于苏鲁豫皖四省交界的地方剧种,苏北和鲁南尤为兴盛。苏北地区的柳琴戏面临着本体个性模糊、人才流失断层、观众群体减少三大问题。其中,本体个性模糊是由于存在适应现代需要与缺乏文化自信的二元张力,人才流失断层是由于面临培养周期较长与收入待遇有限的双重考验,观众群体减少则是由于受到多元娱乐选择和文化认同差异的两种影响。在分析柳琴戏传承发展危机及其原因基础上,提出注重唱腔设计、优化培养方式和回归民众生活的三大发展对策,以期为柳琴戏及其他戏曲类非物质文化遗产的传承保护提供有益的参考。Liuqin Drama is a local drama popular in the juncture of Jiangsu,Shandong,Henan and Anhui,and it is especially prosperous in North Jiangsu and South Shandong.The Liuqin Drama in North Jiangsu is confronted with the problems of blurred ontology personality,outflow and fault of talents,and the shrinking population of audience.Among them,blurred ontology personality is caused by the dual tension—adjustment to modern demand and the lack of cultural self-confidence.The outflow and fault of talents is due to the double tests of long training cycle and limited income.With regard to the shrinking population of audience,it is because of the influence imposed by multiple entertainment choices and cultural identity differences.On the basis of analysing the crisis encountered by the inheritance and development of Liuqin Drama and its causes,this paper proposes three countermeasures including attaching importance to singing design,optimizing the mode of training and returning to people’s life,with the aim of offering reference to the inheritance and protection of many similar intangible cultural heritage,Liuqin Drama included.

关 键 词：柳琴戏 “同质化” 文化认同差异 “民俗化” 传承与发展 

分 类 号：J60[艺术—音乐]