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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/53089


    Title: 從數來寶到快板書研究;Study on the Evolution from Shulaibao to Kuaiban Storytelling
    Authors: 施佑融;Yu-Jung Shih
    Contributors: 中國文學研究所
    Keywords: 數來寶;快板;快板書;竹板快書;曲藝;說唱藝術;Shulaibao;Kuaiban;Kuaiban Storytelling;Talking and Singing Arts;Quyi;Traditional Narrating and Singing Arts
    Date: 2012-01-30
    Issue Date: 2012-06-15 19:43:28 (UTC+8)
    Abstract: 「快板說唱藝術」作為說唱藝術領域極為特殊的一類曲種,源自唐宋時期「蓮花落」的乞食技藝,即已生成其藝術雛型,經過長時間的演變,以數板快唱的基礎型式,歷經宋、元、明等朝代,同時作為流動乞丐的謀生手段與民間說唱藝人的講唱技藝,後在清代發展成為北京城中丐幫組織最主要的一項乞討技藝,時人稱之為「數來寶」,並在清朝末年已作為北京丐幫中最龐大的一門藝丐支派,專以臨時編演的朝街套詞挨戶索說、沿門討要。至民國建立以後,「數來寶」一派的部分藝丐便邁進當時頗為盛行的平民娛樂市場,改以撂地賣藝為生,並逐漸轉型為民間說唱藝人,歷經數輩藝人菁英的努力改革,以數來寶為基礎本體,與其它說唱藝術產生合流與融併,進而創造出較具藝術內涵的諸多快板型式,亦使快板說唱以數來寶的身份正式成為說唱藝術的一門曲種。 直至1950年代,在數來寶藝人長期的演出經驗下,開始對藝術本身進行省思,遂產生了新一波的藝術革新,依舊在數來寶的基礎上,又一次融合評書、相聲、山東快書等說唱藝術,研發創造出快板說唱的新曲種:「快板書」,以數來寶的數板快唱結合評書式的說書風格,形成了「說表並重」的快板說唱藝術。而快板說唱藝術亦始終運用著自身特殊的「簡捷性」與「通俗性」之特徵,配合舞台表演的場域環境,塑造出著意追求的美學境界,在後世藝人的不斷傳承與學習過程,以王鳳山、高鳳山、李潤傑三人為主的技藝套路,逐漸發展為快板說唱的三大流派:王派、高派、李派,三派之中各有獨門特色,王派的「平穩抒緩」、高派的「清亮俏麗」、李派的「火爆脆美」,共同將快板說唱呈現豐富多變的藝術風格。As a unique style in the talking and singing arts, Kuaiban originated from the beggar behavior of Lotus Song (Lianhua Lao in Chinese) during the Tang and Song Dynasties. After the long process of evolution through several dynasties such as the Song, Yuan and Ming Dynasties, etc, the art based on rhythmic storytelling with clapper accompaniment became a way of subsistence for beggars and an art skill for folk artists. In the Qing Dynasty, it became the main begging method for Beggars' Sect in Beijing, which was called Shulaibao. In the end of the Qing Dynasty, the beggars who could perform Shulaibao developed into the largest branch of Beijing Beggars' Sect, performing improvisationally door by door. After the establishment of the Republic of China, some beggar artists of Shulaibao entered into the civilian recreation market which was quite prevalent at that time, changing into folk talking and singing artists who performed at certain places. Experiencing reformations by several generations, Shulaibao was integrated with other talking and singing arts, and developed into various Kuaiban styles with more artistic temperament. Ever since then, the Kuaiban storytelling (Story-telling with Bamboo Clappers) derived from Shulaibao has formally become one of the arts of talking and singing. Until 1950s, Shulaibao artists began to examine this kind of art based on the long-term performing experience, producing a new kind of artistic reformation. Based on Shulaibao, it re-integrated some arts such as Storytelling(Pingshu in Chinese), Comic Dialogue(Xiangsheng in Chinese), and Shandong Clapper Ballad(Shandong Kuaiban in Chinese), and created a new sort of Quyi - Kuaiban Storytelling-combining the clapper accompaniment of Shulaibao and the storytelling style of Storytelling, which emphasized on both talking and performing. Moreover, the Kuaiban Storytelling insists on its own features of terseness and popularity, creating the aesthetics atmosphere mixed with the stage setting. During the process of succession and study by the later generation of artists, Wang Feng-shan, Gao Feng-shan and Li Run-jie developed three genres of Kuaiban Storytelling, with unique feature respectively. The peace and lentitude of Wang, the clearness and briskness of Gao and the fervency and blunting of Li present together various artistic styles of Kuaiban Storytelling.
    Appears in Collections:[中國文學研究所] 博碩士論文

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