谁之传统,传统何为:对当代北京相声传统化实践的考察及反思  

Whose Tradition,and What for:Investigation into and Reflection on the Traditionalizing Practice of Xiangsheng in Contemporary Beijing

作　　者：祝鹏程 ZHU Pengcheng

机构地区：[1]北京大学中文系,北京100732 [2]北京市文联

出　　处：《民俗研究》2024年第3期136-147,160,共13页Folklore Studies

基　　金：国家社科基金重大项目“中国神话文学思想史研究”(项目编号:23&ZD277)的阶段性成果。

摘　　要：相声产生于清代中后期的北京,在市井民间的发展中,形成了开放多元的传统,蕴含着丰富而芜杂的表达资源。20世纪50至90年代,曲艺工作者挖掘市井传统的教化价值,确立了以现实主义为核心的新曲艺传统,并使之成为一种全民族的艺术。21世纪以来,年轻一代在市场化营销中挖掘市井传统中的狂欢化因素,重新塑造出迎合中产阶级的圈层化、符号化的传统。两种传统化实践都是从业者根植于市井传统的某些侧面的发挥,但都不完全是从社区民众主位的视角出发的,这导致在相声传承中,最广大的群体——专心于艺术的普通演员、非中产的普通观众是失语的。因而,在当下民间传统的发展过程中,有必要充分尊重民间的力量,使民间能掌握自我表述的权利。Xiangsheng(comic dialogue)originated in Beijing in the 185os.Developing among the common people,it had formed an open and diverse tradition,containing rich and diverse expression resources.From the 195os to the 1990s,quyi(ballad-singing and storytelling arts)practitioners explored the educational value of traditional folk art,established the"new quyi tradition"centered on realism,and constructed it into the art for the entire nation.Since the 2lst century,the younger generation has been exploring the carnival elements in traditional riangsheng in marketing,reshaping a stratified and symbolic tradition that caters to the middle class.Both traditionalizing practices are the manifestation of practitioners rooted in certain aspects of traditional riangsheng,but they are not entirely from the perspective of community members,causing the largest group in the inheritance of riangsheng-ordinary actors who focus on art and ordinary audiences from the non-middleclass speechless.Therefore,in the current development of folk traditions,it is necessary to fully respect the power of the people and to protect their right of self-expression.

关 键 词：相声 传统化 政治改造 商业利用 表述权 

分 类 号：J826[艺术—戏剧戏曲]