Storytelling is one of the outstanding oral literary forms in China and is deeply loved by the common people. However, academic research on storytelling is quite limited. Compared with the research on poetry, novels, and operas, the research on storytelling seems even more sparse. The orthodox academic and artistic circles have not given it the status it deserves. Occasionally, scholars have mentioned it, and they have mentioned it in passing when studying novels, operas, and folk arts. For example, Ni Zhongzhi's "History of Chinese Folk Art" ①, Cai Yuanli and Wu Wenke's "History of Chinese Folk Art" ②, "General History of Chinese Folk Art" ③ and "Introduction to Chinese Folk Art" ④ edited by Jiang Kun and others are sorting out the long and complicated history. When it comes to the origin, development, evolution and classification of folk art, storytelling, a larger category in folk art, has to be involved only under unavoidable circumstances.
As early as the 1930s, Lian Kuoru published the article "The Origin of Storytelling", which triggered an academic controversy. On August 9, 1934, the literary section of "New Beiping News" published an article signed by Jin Chanyu, "Discussing the Origin of "Reviewing" with Mr. Kuoru", which was serialized five times within a month. Lian Kuoru also published "Answers to "The Origin of Storytelling" discussed by Mr. Chanyu was also serialized in newspapers five times to give a response. Their debate led to in-depth research on the origin of storytelling art. “This is the first time that the theoretical issues of storytelling have been publicly discussed and debated in the media 70 years ago. It can be said to be the first time for theoretical research and discussion of storytelling in China.”⑤ However, this good start did not lead to the development of storytelling research. After the craze, theoretical research on storytelling in the academic world remained silent.
The author searched various studies related to storytelling and found only a few monographs:
Sun Kaidi supplemented and revised the article "On Chinese Short Vernacular Novels" in 1953. Cheng's "Spoken Speaking, Vernacular and Vernacular Novels"⑥, which contains five papers, among which "The Development and Artistic Characteristics of Chinese Short Vernacular Novels" examines the "transformation" from the Tang Dynasty, the "speaking" in the Song Dynasty to the "short stories" in the Ming Dynasty "The evolution trajectory and artistic characteristics of "Speaking" are systematically discussed and analyzed; "The Number of Speakers in the Song Dynasty" discusses the four categories of speaking in the Song Dynasty; "Shuo Kao" and "Ci Hua Kao" discuss the speaking of the Song Dynasty, Yuan and Ming Dynasty The origin, evolution and inheritance relationship of Cihua point out that Cihua in Yuan and Ming Dynasty is the speech of Song Dynasty, and discuss the system of Cihua and three interpretations of "ci" in Cihua. "The Standards and Genres of Popular Lectures in the Tang Dynasty" mainly discusses issues such as singing, chanting, chanting and interpreting people, prefaces, titles, and confessions in the Tang Dynasty's lectures and singing scriptures. This book has important reference value for future generations to study the development and evolution of ancient Chinese rap literature. Zheng Zhenduo praised this book in the preface to the first edition of "On Chinese Short Vernacular Novels": "Many insights are very insightful, and many materials are first-hand, sufficient for researchers to use as a basis."⑦
Ye Dejun's "Lectures and Singing Literature of Song, Yuan and Ming Dynasty"⑧, published in 1957. The singing and singing literature of the Song, Yuan and Ming dynasties plays an important role in the history of folk art. It inherits the popular singing of the Tang Dynasty and pioneers the art of modern singing and singing. This book is a systematic discussion of the singing and singing literature of the Song, Yuan and Ming dynasties, and has been highly valued by future generations of folk art researchers. The full text is divided into three parts: "General Situation of Singing and Singing Literature", "Music and Music as Singing and Singing Literature", and "Poetry and Praise as Singing and Singing Literature". "The General Situation of Talking and Singing Literature" explains the characteristics of the music- and poetry-based talking and singing literature, and discusses the differences and connections between them; "Music-Music Talking and Singing Literature" discusses the development and flow of music-based talking and singing literature. It introduces the changes in novels, narrative drum lyrics, fuzhuo and Zhugongdiao, yushuo, and rap peddlers since the Song and Yuan Dynasties. It also analyzes the special circumstances of Taozhen, narrative music Daoqing, narrative lotus fall, etc. that were popular at that time. . "Poetry and Praise Series Lecture and Singing Literature" discusses the development and evolution of poetry and praise lecture and singing literature, introduces Ya Ci and Tao Zhen in the Song Dynasty, and discusses the genre characteristics of Ci Hua in the main section, as well as the evolution from Ci Hua to Tanci and Gu. The development process of Ci points out that the Ming Dynasty's poems, praises, lectures and singing literature are mainly Cihua popular in the north and south and Tao Zhen popular in the south. Tao Zhen's line was renamed Tanci during the Jiajing period, and Cihua's line was called Guci in the north during the Ming and Qing Dynasties. .
Chen Ruheng wrote "Short History of Storytelling" in classical Chinese as early as 1936. In 1958, he wrote "Short Story of Storytelling" in modern Chinese based on "Small History of Storytelling". This book is similar to "Small History of Storytelling". There is a big difference and improvement than that.
Chen Ruheng's main contribution is to describe in detail the historical trajectory of the art of storytelling, briefly sketching it from the pre-Qin to the Sui Dynasty, but for "storytelling in the Tang Dynasty", "storytelling in the Northern Song Dynasty", "storytelling in the Southern Song Dynasty", "storytelling in the Yuan and Ming Dynasties", "Storytelling in the Qing Dynasty" has a more detailed explanation, clear context, rigorous argumentation, and unique insights in many places. Later generations of scholars who want to elaborate on the history and development trajectory of the art of rap will mostly refer to this book. However, storytelling here not only includes storytelling in the modern sense, which only speaks but does not sing, but also includes Tanci, Drum Ci, Zidi Shu, Kuaishu, Henan Zhuizi, Daoqing, Sichuan Zhuqin, Guangdong Dragon Boat and Nanyin, etc. In 1979, Chen Ruheng published "The History of Storytelling in the Song Dynasty" B11, which was written according to the several stages "dating" divided into "The History of Storytelling". The original plan was to write "History of Storytelling in the Song Dynasty", "History of Storytelling in the Yuan and Ming Dynasties", and "Storytelling in the Qing Dynasty". "History" and so on, but unfortunately only "History of Storytelling in the Song Dynasty" was completed. Chen Ruheng also paid attention to storytellers and wrote two books, "The Great Storyteller Liu Jingting" B12 and "The Storyteller Liu Jingting" B13. As a theorist who has devoted himself to studying the art of storytelling for decades, Chen Ruheng’s achievements are self-evident.
Cheng Yizhong published the book "The Storytelling of the Song and Yuan Dynasties" B14 in 1964. This book introduced the origin of the language, the language of the Song and Yuan Dynasties, the compilation and dissemination of the storybook; it also introduced the title of "telling history" , system, subject matter, theme ideas, historical reality and artistic reality of telling history, the subject matter, chapter, system, ideological quality, artistry of "novel", as well as many issues of "narrating scriptures" have been carefully analyzed. The book also starts from The historical significance of storybooks, the role of storybooks in the development of novels, and the impact of storybooks on other literary works emphasize the important status of storytellers in Song and Yuan dynasties in the history of literature.
B15 of Hu Shiying's "Introduction to Huaben Novels" published in 1980 traces the origin and evolution of speaking, analyzes the concepts of "hua", "speaking" and "huaben", and illustrates the relationship between Huaben and Huaben. The relationship between novels, Huaben and Pinghua, Huaben and poetry, Huaben and Cihua, the relationship between Tang legends, popular literature and Huaben, the relationship between Yuan and Ming storytellers and Huaben, the relationship between storytelling and imitated Huaben in the Qing Dynasty . The book also examines the number of speakers in the Song Dynasty, points out the political tendencies and artistic features of the Song Dynasty scripts, and also has a special chapter on public case novels and history telling. The author revised the manuscript four times starting in the 1960s, and it was not published until 1980. It can be said that it was carefully compiled. There are eighteen chapters in the book, and the author has collected extensive references. The information is detailed and the research is thorough, making the content very rich. Mr. Zhao Jingshen once commented that this book is "an encyclopedia for the study of scripts."
The scholars introduced above have made considerable achievements in the study of storytelling. However, as far as the object of their research is concerned, it is basically "ancient storytelling", using the broad sense of rap literature. To measure it according to the standards, it is not yet a study of storytelling in the modern sense. Strictly speaking, there are only the following three monographs on the study of "Pingshu" in the modern sense:
The first is Tan Daxian's "Research on Chinese Pingshu (Pinghua)" B16.
Tan Daxian is a well-known folk literature expert. He began to study Chinese folk literature in 1953 and published "Research on Chinese Pingshu (Pinghua)" in 1982. He published more than 40 monographs in his lifetime, and the book "Research on Chinese Pingshu (Pinghua)" is one of his masterpieces. The book is divided into two parts. The first part discusses "the characteristics of storytelling", "the role of storytelling", "the emergence and development of storytelling", "types of storytelling", "the traditional art form of storytelling: unrhymed storytelling", "the development of storytelling". New art forms: "Rhymed storytelling", "Plot structure of storytelling", "Character description of storytelling", "Language characteristics of storytelling", "Expression techniques of storytelling", "Rule of storytelling, praise and rhyme"** *11 parts; the next part contains selected traditional works of modern Chinese storytelling: "Wu Song Havoc in Shijiazhuang" (Shanxi Youyun Storytelling), "Li Taibai Rushing to Examine" (Sichuan Storytelling), "Meeting in the Ancient City" (Suzhou Pinghua "Three Kingdoms" (a chapter of Suzhou's long-term commentary on "The Three Kingdoms"), "Strike Huang Gai" (a chapter of Yangzhou's long-term commentary on "The Three Kingdoms"), "A Contest in Tianbo Mansion" (a chapter of Suzhou's long-term commentary on "The Generals of the Yang Family"), "Wu Song Fights Tigers" (a chapter of Yangzhou's long-term commentary on "The Three Kingdoms") , "Ximen Bao Zhi Ye" (Jilin Pingshu), etc., let us understand the basic appearance of storytelling and commentary works in northern and southern China.
The book also appends selected materials on storytelling (Pinghua) activities in eight cities: a brief profile of libraries and artists in Peking in 1914, storytelling and singing in Peking in the 1920s, Wuxi bookstores in Jiangsu in the 1920s, a list of Suzhou bookstores and famous artists in the 1920s, Shanghai Storytelling Center in the 1930s, Fuzhou Storytelling Center in the 1930s, Taiyuan Storytelling Center in Shanxi in the 1930s, a brief introduction to Wuhu Storytelling in Anhui in the 1930s, a brief introduction to Cantonese Storytelling in Guangzhou since the 1920s, etc. Although these materials are only scratchy, they outline the general situation of storytelling in bookstores at that time and help us understand the performance status of storytelling in the North and South and in the South. The author also introduces the Yangzhou Pinghua genre and the "Ten Taboos", "Ten Essentials", "Eight Methods" and "Seven Emotions" of Cantonese storytelling in Guangzhou. The author worked very diligently and collected detailed information, which is very valuable. However, it is inappropriate to classify storytelling into two similar categories: storytelling with rhyme and storytelling without rhyme. For example, Di Laizhen is a famous bamboo board calligrapher. His "Wu Song Havoc in Shijiazhuang" is a bamboo board calligraphy work. Bamboo board calligraphy and storytelling are two different types of folk art. It is not appropriate to confuse bamboo board calligraphy and storytelling.
The second is "On the Art of Chinese Storytelling" B17 published in 1997 by Wang Jingshou, Wang Jue and Zeng Huijie.
This book focuses on Northern Pingshu and does not discuss Southern Pingshu and Southern Pinghua. The book consists of twelve chapters - "Historical Origin", "Development Process", "Aesthetic Implications", "Artistic Characteristics", "Dragon Snake Brushwork", "Structural Methods", "Performance Methods", "Masterpiece Appreciation", "Bibliography" "Comments", "Comments from Famous Masters", "Comments from Newcomers", "Prospects" - to discuss the art of storytelling in the north. The most important part of the book is the structural means of "liangzi", "柁子", "button", "opening the face", "giving praise", "arranging the last piece", "setting the mouth", and "setting the scene and ending". Specific discussions include specific analysis of performance methods such as "speaking", "acting", "commenting", "gimmicks" and "learning". This book also explores the aesthetic connotation of storytelling and attributes the artistic characteristics of storytelling to delicacy, verisimilitude, expressiveness, and humor. There is also a comprehensive analysis and evaluation of famous books such as "The Story of Yue Fei", "The Romance of the Three Kingdoms", "The Story of the Rising Tang Dynasty", "Three Heroes and Five Righteousnesses", and "Liao Zhai". This book is by far the most important work in the study of storytelling.
The third is "Pingshu - A Reading of Chinese Quintessence of Art" published by Zhang Xiaotao in 2008.
The whole book is divided into "The long traceable origin - the chapter on the origin of storytelling", "The lost dragon ticket - the formation and development chapter", "The emergence of talented people from generation to generation - the chapter on prosperity", " The six major parts, "Extending the Old and Incorporating the New - Reform and Innovation", "The New Generation in the Storytelling World - Chen Guangxi's Mini-Chapter", and "The Spread and Development of the Art of Storytelling - Timeless Chapter", use the development of the times as clues to introduce storytelling in a simple and easy-to-understand way. The formation, development, prosperity, innovation and current situation of art are clear and simple; focusing on storytellers, it introduces Mo Houguang, Liu Jingting, Shuang Houping, Shi Yukun, Pan Chengli, Lian Kuoru, Wang Shaotang, Wang Jiokui, Chen Shi He, Yuan Jieying, Pin Zhengsan, Gu Tongsheng, Chen Yinrong, Ma Liandeng, Yuan Kuocheng, Li Xinquan, Shan Tianfang, Liu Lanfang, Tian Lianyuan, Lian Liru, He Zuohuan, Tian Zhanyi, Liu Chao, Zhang Shaozuo and other outstanding storytelling artists of various eras. "Chinese National Essence Art Reader" aims to "spread our traditional national art to Chinese people, especially young people, and also show the essence of Chinese culture to the world" B18. Therefore, the book is introductory, descriptive and popular. characteristics and lack of academic quality.
It took ten or even twenty years for a monograph to be published, which shows that the research on storytelling is sparse. Compared with the study of poetry, drama, and novels, this situation cannot but be lamented.
In recent years, few works on storytelling have discussed the essential characteristics of storytelling, the textual literature of storytelling, and the performance skills of storytelling. Researchers have focused their attention on storytelling artists. The results are mostly biographies, such as Gong Qinke's "The Story of Liu Lanfang Storytelling" B19, Li Wei's "Critical Biography of Liu Lanfang - Chinese Rap Art Series" B20, Saren Tuya's "The Sound of Kyushu Tian Lianyuan" B21, Xu Qing's "Life of Oral Talk: Autobiography of Storytelling Artist Xu Qing" B22, "Shan Tianfang Speaks of Shan Tianfang: Ordeals" written by Shan Tianfang orally and edited by Xi Qingwen B23, "Research on the Art of Storytelling by Shan Tianfang" by Xing Shaozhong and Wang Chenglu B24, B25 of "Awakening Trees Shocking the Sky and Even Broader Views" by Zhenli Weng, "Listen to the Next Chapter's Analysis? The Biography of Shan Tianfang" by Zhang Jihe, B26 and "The Legendary Life of Storytelling Master Shan Tianfang" B27, etc.
As is the case with monographs, single papers on storytelling also focus on the life introduction or artistic evaluation of storytelling artists, such as "Rebel - Interview with the famous storytelling performing artist Tian Lianyuan" B28 by Wang Mancang and Niu Shuangxi , Hao Weiqun's "The Storytelling Fate of Lian's Father and Daughter" B29, Li Xiaojuan's "The Famous Storyteller He Zuo Talks about Life with a Laughter" B30, Xu Qing's "The Storytelling Boy's Adventures in the Jianghu" B31, Cui Jinsheng's "The Storytelling Master Lian Kuoru" B32, Chen Liansheng "Devoting oneself to the folk art without regrets - Recalling the teacher Wang Jue" B33, Su Yunsheng's "Liu Lanfang: Famous for the folk art" B34, Ma Qi's "Remembering the teacher - storytelling artist Chen Rongqi" B35, Cheng Wanghong's "Devoting oneself to the infatuated storytelling" No Regrets - A Summary of the Seminar for the 60th Anniversary of Xu Qing's Art career" B36, Wang Chiliang's "The Envoy of Exchanges of Reviews and Commentaries between the North and the South - My Teacher Liu Lanfang" B37, etc. Of course, attention should be paid to the storytelling actors themselves, and studying them helps us understand how they grew into famous storytelling artists. Their origins, experiences, and correct treatment of life's hardships all have important inspirations for future generations; their persistent pursuit of storytelling, their learning from many teachers, and their pursuit of excellence in art are even more worthy of learning by future generations. However, the lack of research on the art of storytelling itself is inappropriate.
There are relatively few studies on the storytelling works themselves, the content and style of storytelling, and only the following papers are involved: Yang Peiqin's "The Artistic Style of Shan Tianfang's Storytelling" B38 starts from clean, fast-paced, integrated The four aspects of emotional knowledge, ups and downs of the plot, and simple and concise language spoke highly of Shan Tianfang's artistic talent. Fang Zhenping and Zhan Xiuhua's "Shan Tianfang's Storytelling Art Style - Also Talking about the Characteristics of Storytelling" B39 analyzes Shan Tian in detail from three aspects: the unique charm of language art, the live performance with rich emotions, and the color of the times using the present to talk about the past. Fang's superb artistic attainments in storytelling. Pan Yichuan's "People-oriented Thought and National Consciousness are the Background of Traditional Storytelling - A Talk with Folk Art Expert Dai Hongsen" B40 discusses the origin of storytelling, changes in storytelling themes, how to view the "facialization" of traditional storytelling, and Although there are many issues involved in storytelling, such as how to express the people's political ideals and moral pursuits, the patriotism and national consciousness in storytelling, and the impact of storytelling on the construction of the national value system, it is not deep and thorough enough because it is in the form of a conversation. Wu Wenke's "The Vocal Beauty and Its Current Significance of Liu Lanfang's Storytelling Performance" B41 analyzes Liu Lanfang's passionate, heroic and vigorous vocal beauty characteristics from many aspects, and believes that this feature is a revelation to the folk art stage that currently does not pay enough attention to vocal beauty, and can It will give more confidence to female storytelling actors who are engaged in storytelling performances.
After 2000, articles discussing the spread of storytelling gradually increased. Shi Yanfang's "Development of the Form of Television Storytelling" B42 takes the large-scale television storytelling "Battle of Liaoshen" as an example to illustrate that the combination of "three explanations and one comment" and the combination of sound and picture has made television and storytelling achieve a win-win situation. This is to expand the performance function of television storytelling. A new exploration and attempt. Cai Lianwei's "A Summary of the Spread of the "Yang Family Generals" Story" B43 From the Yang family generals in history to the Yang family generals in official history and unofficial history, from the Yang family generals in popular novels to the Yang family generals in operas and storytelling, and then He systematically collected and organized the dissemination materials of the Yang family stories in TV, movies and even on the Internet, and believed that the main reason why the current spread of the Yang family stories is relatively sluggish is the utilitarian era of pursuing the realization of personal values ??and publicizing individuality. , making people no longer pay attention to the traditional ideological culture and moral concepts carried by the Yang family's story. Although Li Chunyu's "Shan Tianfang's "Three Sales" Storytelling and Business Model" B44 discusses business models from the standpoint of economic management, it has important implications for how storytelling is linked to the market economy and how storytelling adapts to modern media methods.
Behind the apparent "popularity" of storytelling, the endangered art of storytelling has attracted the attention of some people, who have put the protection and development of storytelling art on their agenda. Wang Chenbo's "When Storytelling Becomes a Past" B45 describes the current situation of storytelling crisis. Today's storytelling actors are unwilling to let their children engage in storytelling work. Some storytelling actors even change careers and rush into the film and television industry. The fault of storytelling has not only broken for one generation. , and the persistent attitude of striving for artistic excellence is also rare.
Another article by Wang Chenbo, "Tian Lianyuan: "Pingshu Will Not Die"" B46, makes people a little more optimistic. Tian Lianyuan believes that storytelling mainly tells stories through one person and one person with multiple characters, which is not found in other art forms. Therefore, storytelling Irreplaceable, storytelling has its own fixed audience. As long as humans exist, storytelling will exist, because people cannot help but listen to stories. Wu Wenke's "Chinese Folk Art - Current Difficulties and Development Countermeasures" B47 believes that there is a lack of new programs with classic character, a lack of high-quality creative and performing talents, the destruction of the traditional mechanism of artistic inheritance, misunderstanding of the tradition of folk art and the loss of professional knowledge. Lack of knowledge, insufficient popularization and education of basic knowledge of folk arts, and weak theories and reviews of folk arts are major problems currently faced by folk arts including storytelling. National policy support, the establishment of various types of folk arts schools at all levels, and the creation of correct public opinion are proposed and a series of measures. Wu Wenke's "Implementing the protection of "intangible cultural heritage" in accordance with the own laws of cultural events - taking the protection of folk arts and music genres as an example" B48, Qing Suizeng's "Learning to read the business experience of folk arts - my opinion on the market of folk arts" B49. Feng Guangyu’s “Construction of the Discipline of Folk Art and Research on Folk Art Music—Remarks on the 20th Anniversary of the Founding of the Institute of Folk Art, Chinese Academy of Arts” B50. Jiang Huiming’s “Dissemination and Inheritance—A Brief Talk on How to Effectively Use Modern Media to Promote the Protection and Protection of Traditional Folk Arts Development" B51 are all making suggestions for the protection and development of folk art, but these are mostly for the entire folk art, not for storytelling.
As for the relationship between storytelling and its sister arts, even fewer people pay attention to it. Weng Ouhong's book "Beijing Hua Jiu" B52 contains an article "Pingshu and Opera", which believes that "the most loyal audience of storytelling is undoubtedly the opera actors. Their hobby of listening to books is not only for entertainment and recreation, but also for absorbing nutrition and Solving doubts and seeking knowledge.” B53 He also used a lot of facts to prove: “Performance and opera can be said to be closely related sister arts. Opera actors can absorb nutrition from storytelling, and storytelling artists can also absorb nutrition from opera.” B54 This. This is the only article I have seen so far that compares opera and storytelling. The author himself is a dramatist, and the things described are all his own personal experiences. This article is of great value. Jiang Fangcai's "On the Connection and Difference between Pingshu and Novels" B55 believes that: Novels and Pingshu have the same origin. Novels gave birth to the art of storytelling in the process of development. Pingshu separated from novels in the late Ming and early Qing Dynasties; novels and storytelling are also They are two different artistic concepts. They are different in terms of appreciation, story telling, character creation, environment description, language, etc. Regardless of whether his discussion is accurate or not, it is commendable because there are very few such articles.
In short, the research on the theory of folk art is very weak. There is only one institution in the country that specializes in the study of folk art, the Institute of Folk Art of the China Academy of Arts. For a long time, the only researchers at the Institute of Folk Art are Cai Yuanli and Wu Wenke. Moreover, Cai Yuanli has retired. . There is only one publication that specializes in publishing articles about folk art, "Quyi". There are also very few folk art classes on university campuses. This is true for folk art, and even more so for storytelling. As one of the larger genres of folk art, storytelling is still active, but it faces many difficulties. Apart from the biographies of storytelling actors, there are only three monographs and not many individual papers on this subject. This phenomenon deserves our deep thought. However, this situation also leaves us post-scholars with a lot of room for research.
After we have a clear understanding of the current research status of storytelling, we can further understand the significance and value of storytelling research:
(1) It can enhance the understanding of social history and culture Knowledge and understanding of the history and folk art history.
The gestation, production and development of storytelling are inseparable from the social conditions at that time. The study of storytelling will naturally contribute to the understanding of social history. In the evolution of human cultural history, "elegant" and "vulgar" have always been intertwined, opposing and interpenetrating each other. Elegant culture often accepts the refined part of vulgar culture, and vulgar culture is constantly transformed into elegant culture. Storytelling is popular literature, and novels are refined popular literature, but they were tangled together at the beginning. Novels such as "The Romance of the Three Kingdoms", "Water Margin", and "Journey to the West" were mostly written by literati on the basis of "storytelling" After the formation of these novels, they influenced the development of the art of "storytelling". The relationship between them reflects the relationship between elegant culture and popular culture. Storytelling is a major category in folk art, and its development and changes reflect the development and changes in the history of folk art. Therefore, studying storytelling is helpful for understanding social history, cultural history, and folk art history.
(2) It helps to promote the construction of storytelling art theory.
At present, there are many reasons for the downturn of storytelling, among which the academic community’s insufficient attention to the art of storytelling is one of the important reasons. The "absence" and "aphasia" in the academic field make storytelling theory insufficient in its own construction. The unconsciousness of the development of storytelling art is not unrelated to the unconsciousness of theory. The author hopes that his research can serve as a starting point and make the academic community pay close attention to the construction of storytelling theory.
(3) Contribute to the inheritance and development of the excellent tradition of storytelling art.
Storytelling has attracted many audiences for a long time and made people fascinated. This is inseparable from the excellent artistic tradition of storytelling itself. However, storytelling is currently experiencing a cold spell. Through the study of storytelling, it is of great significance to the protection and development of storytelling to discover as many advantages as possible of the art of storytelling and to find its own shortcomings and flaws.
(4) It can establish and strengthen the confidence that storytelling art will continue to exist and develop in future society.
Modern society is changing with each passing day. New science and technology are constantly emerging, and new artistic styles are constantly being produced. People's aesthetic tastes are also changing and improving. As a traditional culture, the art of storytelling has been objectively severely challenged. The current sluggish state of storytelling makes people doubt its vitality. Whether storytelling can exist for a long time and whether it is necessary to exist has become a lingering question in people's minds. If storytelling wants to survive, it must recognize the characteristics of the times and its own shortcomings. How storytelling can fully express its aesthetic connotation and how to better keep up with the development of the times are issues worth pondering. Oral literature is the most essential feature of storytelling. It takes telling stories as its own responsibility. By exploring the essential features of storytelling, we should strengthen our confidence that storytelling can continue to exist. Storytelling is an oral language. As long as the oral language used by people to communicate and communicate does not disappear, storytelling will not disappear; as long as people still have the desire to listen to stories, storytelling is necessary to exist.
(5) Research projects on sustainable development.
After having a comprehensive understanding of storytelling and the current situation of storytelling research, we can expand our research horizons and further deepen our research.
The storytelling of an era has its own look, such as "Research on Storytelling in the Late Qing Dynasty and the Early Republic of China", "Research on Storytelling in the 1930s and 1940s", "Research on Storytelling in the 1950s", "Research on Storytelling in the 1980s and 1990s" can all be used for in-depth excavations based on the social background at that time. We can also conduct in-depth, detailed, specific and systematic discussions on representative storytelling works themselves, such as "Strange Stories from a Chinese Studio", "Journey to the West", "Water Margin", "The Romance of the Three Kingdoms", "A Dream of Red Mansions", etc. Compare the relationship between storytelling and novels, discover their similarities and differences, and reveal the internal characteristics of the two literary styles of storytelling and novels as well as their essential differences in the comparison. For narrative books such as "Three Heroes and Five Righteousness", "Yue Fei's Biography" and "Yang Family General", we can explore the reasons for their great success based on the background of the times when they were produced and the aesthetic taste of people at that time. It is also necessary to continue to study the storytelling actors and the relationship between opera and folk art.
Notes:
① Ni Zhongzhi's "History of Chinese Folk Art", Chunfeng Literature and Art Publishing House, 1991 edition.
②Cai Yuanli and Wu Wenke "History of Chinese Folk Art", Culture and Art Press, 1998 edition.
③Jiang Kun and Ni Zhongzhi (editors) "General History of Chinese Folk Art", People's Literature Publishing House, 2005 edition.
④Jiang Kun and Dai Hongsen (editors) "Introduction to Chinese Folk Art", People's Literature Publishing House, 2005 edition.
⑤ "The Eye-Catching and Shocking Even Broader" by Coirellia Weng, Contemporary China Publishing House, 2005 edition, page 57.
⑥Sun Kaidi's "Vulgar Speaking, Spoken and Vernacular Novels", Writers Publishing House, 1956 edition.
⑦ Sun Kaidi's "Vulgar Speech, Speech and Vernacular Novels", Writers Publishing House, 1956 edition, page 2.
⑧Ye Dejun, "Lectures and Singing Literature of Song, Yuan and Ming Dynasties", Classical Literature Press, 1957 edition. Later, it was included in Ye Dejun's "Complex Examination of Opera Novels", Zhonghua Book Company, 1979 edition.
⑨Chen Ruheng's "A Brief History of Storytelling", Zhonghua Book Company, 1936 edition.
⑩Chen Ruheng's "Storytelling History", Writers Publishing House, 1958 edition.
B11 Chen Ruheng, "History of Storytelling in the Song Dynasty", Shanghai Literature and Art Publishing House, 1979 edition.
B12 Chen Ruheng, "The Great Storyteller Liu Jingting", Shanghai Silian Bookstore, 1954 edition.
B13 Chen Ruheng, "Storyteller Liu Jingting", Shanghai Literature and Art Publishing House, 1979 edition.
B14 Cheng Yizhong's "Song and Yuan Dynasties", Zhonghua Book Company, 1964 edition.
B15 Hu Shiying, "Introduction to Huaben Novels", Zhonghua Book Company, 1980 edition.
B16 Tan Daxian, "Research on Chinese Pingshu (Pinghua)", The Commercial Press, Hong Kong Branch, 1982 edition.
B17 Wang Jingshou, Wang Jue and Zeng Huijie, "On the Art of Chinese Storytelling", Economic Daily Press, 1997 edition.
B18 Bai Gengsheng (Editor-in-Chief), Zhang Xiaotao (Editor) "Pingshu - A Reader of Chinese Quintessence of Art", China Federation of Literary and Art Circles Press, 2008 edition, page 2.
B19 Huashan Literature and Art Publishing House, 1982 edition.
B20 Xinhua Publishing House, 1993 edition.
B21 Chunfeng Literature and Art Publishing House, 1994 edition.
B22 Chongqing Publishing House, 1998 edition.
B23 China Friendship Publishing Company, 2000 edition.
B24 China Culture Publishing House, 2003 edition.
B25 Contemporary China Publishing House, 2005 edition.
B26 Shanghai People's Publishing House, 2006 edition.
B27 Contemporary China Press, 2008 edition.
B28 "Contemporary Television", Issue 5, 1996.
B29 "Children of China" (overseas edition), Issue 7, 1997.
B30 "Hubei Today", September 1999 issue.
B31 "Hongyan Spring and Autumn", Issue 5, 2002.
B32 "Beijing Archives", Issue 11, 2005.
B33 "Quyi", Issue 11, 2007.
B34 "Friends of Party Members and Cadres", Issue 12, 2007.
B35 "Quyi", Issue 2, 2008.
B36 "Quyi", Issue 2, 2008.
B37 "Quyi", Issue 2, 2009.
B38 "Modern Communication: Journal of Beijing Broadcasting Institute", Issue 3, 1995.
B39 "Reading and Writing", Issue 2, 1997.
B40 "Quyi", Issue 3, 2008.
B41 "Quyi", Issue 3, 2009.
B42 "China Television", Issue 8, 2000.
B43 "Folklore Research", Issue 2, 2005.
B44 "Chinese and Foreign Management", Issue 8, 2005.
B45 "Newsweek", November 4, 2002.
B46 "Newsweek", November 4, 2002.
B47 "Beijing Observation", Issue 3, 2004.
B48 "Journal of Chongqing University of Arts and Sciences", Issue 5, 2006.
B49 "Quyi", Issue 1, 2007.
B50 "Quyi", Issue 2, 2007.
B51 "Quyi", Issue 4, 2008.
B52 Weng Ouhong "Beijing Dialogue", Baihua Literature and Art Publishing House, 2004 edition.
B53 Weng Ouhong "Beijing Dialogue", Baihua Literature and Art Publishing House, 2004 edition, page 32.
B54 Weng Ouhong "Beijing Dialogue", Baihua Literature and Art Publishing House, 2004 edition, page 38.
B55 "Journal of Hunan Normal University (Social Science Edition)", Issue 5, 1999.
Author: Li Xiaohong Source: "Hundred Schools of Art"