兰州鼓子传承与保护分析-中国现当代文学专业论文.docxVIP

I I 摘 要 兰州鼓子是在兰州市区及周边县镇流传的一种特有的民间曲艺形式。兰州鼓 子在清末民初曾盛极一时，遍布兰州各地，家喻户晓，20 世纪中期后受到政治 权力与流行文化的强烈冲击，逐渐淡出人们的视野，呈现衰弱之势。兰州鼓子在 源流上，可能与唐代变文、宋代鼓子词、元曲等有一定关联，但更直接的本源则 是明清八角鼓；在基本形态上，与陕西眉户、青海平弦、兰州太平歌、北京八角 鼓等有相似性，更有明显不同。兰州鼓子在曲牌、曲本及表演方式等方面，具有 严谨性、地方性、活态性等特点。兰州所处的西部自然地理与文化交融环境，是 兰州鼓子形成并得以传承的文化土壤；曲艺形式本身的僵化与传承主体的萎缩， 是鼓子陷入了困境的主要表现。以传播学审视兰州鼓子，可以体察其生成问题但 不能解决前路问题；以表演理论分析兰州鼓子，可诠释其传承模式但受制于现实 环境。文化实践理论从文化实践的现实出发，全方位研究文化发展规律，对思考 兰州鼓子的发展前景有重要指导意义。兰州鼓子的发展创新，必须在宣传、教育、 研究等各方面实施综合战略，呼唤全社会共同关注，谋求全面统筹发展。 关键词：兰州鼓子 曲艺 文化生态 表演理论 文化实践 II II Abstract Lanzhou guzi is an unique form of folk opera which is prevalent in the downtown and countryside areas of Lanzhou. It was very famous that everyone knew it and it spread all over Lanzhou in the end of Qing Dynasty and the beginning of Republic of China. It was assaulted by political power and popular culture after Mid-20th century so that out of the vision of people gradually and tends to weakly. For the origin of Lanzhou guzi, it may has the connections with Bianwen of Tang Dynasty, guzi ci of Song Dynasty and yuanqu of Yuan Dynasty but the direct origin is bajiao gu of Qing Dynasty. On the basic form, it has the similar with Shanxi meihu, Qinghai pingxian, Lanzhou taiping ge and Beijing bajiao gu, also has the more obviously differences from them. Lanzhou guzi is rigorous, regional and lively on its tune, text and mode of performance. Under the environment of the western physical geography and the cultural blend, Lanzhou guzi formed and heritage. Lanzhou guzi is now in dilemma because of the rigid of its folk art in the form and the shrinking of languor of its subject. In the angle of Communication theories, we can find prombles of its origin but can not solve the problem of developing. In the angle of performance theory, we can explain its inheritance model and the reason why it is limited with the reality environment. The theory of Cultural Practices is on the angle of cultural practices, research the law of development in all domains and has the important