What is the current situation and thinking of China's storytelling research?

Storytelling is one of the excellent forms of folk oral literature in China, which is deeply loved by ordinary people. However, the academic research on storytelling is quite limited. Compared with the study of poems, novels and operas, the study of storytelling is rare. Orthodox academic circles and art circles have not given it its due status, and scholars occasionally involve it, and they also mention it in passing when studying novels, operas and quyi. For example, Ni Zhongzhi's History of Quyi in China, Cai Yuanli's History of Quyi in China, China's General History of Quyi and China's Introduction to Quyi inevitably involve the evaluation of Quyi when sorting out its origin, development, evolution and classification.

As early as 1930s, Lian Kuoru published the article The Origin of Storytelling, which triggered an academic debate. On August 9th, 1934, the literary edition of New Taipei Pingbao published an article entitled "Talking about the Origin of storytelling with Mr. Kuoru" signed by Chan-woo Kim, which was serialized five times a month. Lian Kuoru also responded with the title "Answering Mr. Chan Yu about the Origin of storytelling". Their argument deepened the research on the origin of storytelling art. "This is the first time that storytelling theory was openly discussed and debated in the media 70 years ago. It can be said that China studied and discussed the theory of storytelling for the first time. " However, this good start did not lead to the upsurge of storytelling research. After that, the academic research on storytelling has remained cold and silent.

The author collected all kinds of research related to storytelling and found that there are only a few monographs:

Sun Kaidi's On China's Short Vernacular Novels (1953) was supplemented and revised, and 5 papers were included. Among them, The Development and Artistic Features of China's Short Vernacular Novels systematically discusses and analyzes the evolution track and artistic features from "transformation" in Tang Dynasty and "talking" in Song Dynasty to "short stories" in Ming Dynasty. The Number of Speakers in Song Dynasty discusses four categories of speakers in Song Dynasty. "Hua Kao" and "Ci Kao" discuss the origin, evolution and inheritance of Song Dynasty dialect and Yuan and Ming Ci, point out that Yuan and Ming Ci is Song Dynasty dialect, and discuss the system and three interpretations of Ci. The standard of popular speech in Tang Dynasty and its original genre mainly discusses many problems in Tang Dynasty, such as chanting, chanting words, singers, vows and opening topics, confession and so on. This book has important reference value for future generations to study the development and evolution of China ancient rap literature. In the preface to the first edition of On China's Short Vernacular Novels, Zheng Zhenduo praised the book: "Many viewpoints are very incisive, and many materials are first-hand, which is enough for researchers to use as a basis." ⑦

Ye Dejun's Rap Literature of Song, Yuan and Ming Dynasties was published in 1957. The rap literature of the Song, Yuan and Ming Dynasties occupies an important position in the history of Quyi, which inherits the common sayings of the Tang Dynasty and creates the precedent of modern rap art ... This book systematically expounds the singing literature of the Song and Yuan Dynasties and has been highly valued by the researchers of Quyi in later generations. The full text is divided into three parts: the general situation of singing literature, the music part of singing literature and the poetry praise part of singing literature. A survey of singing literature explains the characteristics of singing literature in music department and poetry praise department, and discusses the differences and connections between them. "Music Rap Literature" discusses the development and evolution of music rap literature, introduces novels, narrative drums, repeated income and various situations of Gongdiao, Yu Shuo and rap vendors since the Song and Yuan Dynasties, and also analyzes the special situation of Tao Zhen, narrative music and narrative lotus falling at that time. This paper discusses the development and evolution of poetry praise literature, introduces Ya Ci and Tao Zhen in Song Dynasty, and discusses the genre characteristics of Ci, as well as the development process from Ci to Tanci and Guci. It is pointed out that the poetry-chanting literature in Ming Dynasty is mainly the popular word harmony in the south, which was renamed Tanci in Jiajing period, and the word harmony in the north in Ming and Qing dynasties was called drum word.

As early as 1936, Chen Ruheng wrote a storytelling story ⑨ in classical Chinese. On the basis of 1958, this book is quite different and improved compared with storytelling stories in modern Chinese. Chen Ruheng's main contribution lies in his detailed description of the historical track of storytelling art and a brief description of the historical track from pre-Qin to Sui Dynasty. However, he described the ballads of Tang Dynasty, Northern Song Dynasty, Southern Song Dynasty, Yuan Ming Dynasty and Qing Dynasty in detail, with clear context and rigorous argumentation, and had unique opinions in many places. Later scholars should elaborate on the history and development track of rap art, but the storytelling here includes not only storytelling in the modern sense, but also storytelling such as Tanci, Guci, children's calligraphy, sketch, Henan pendant, Taoist sentiment, Sichuan Zhuqin, Guangdong Dragon Boat, Nanyin and so on. 1979, Chen ruheng published the story-telling history of the song dynasty B 1 1, which was written according to several stages of the story-telling history. The original plan was to write Story-telling History of Song Dynasty, Story-telling History of Yuan and Ming Dynasties and Story-telling History of Qing Dynasty respectively, but unfortunately it was only completed. Chen Ruheng also attached great importance to storytellers and wrote two books, Liu Jingting B 12 and Liu Jingting B 13. As a theorist who has devoted himself to the art of storytelling for decades, Chen Ruheng's achievements are self-evident.

1964, Cheng Yizhong published Tales of Song and Yuan Dynasties B 14, which introduced the origin of speech, speech in Song and Yuan Dynasties, and the compilation and spread of stories. This paper makes a detailed analysis of the title, system, theme, theme, historical truth and artistic truth of "telling history", the theme, content, system, ideology and artistry of "novel" and many problems of "telling classics". This book also emphasizes the Song Dynasty from the historical significance of the script, its role in the development of the novel and its influence on other literary works.

15, An Introduction to Tale-based Novels, published by 1980, traces the origin and evolution of language, distinguishes the concepts of "Hua", "Hua" and "Tale-based", and explains the relationships among Tale-based Novels, Tale-based Stories and Tale-based Stories, as well as legends of the Tang Dynasty, popular literature and Tale-based Stories. The book also examines the number of speakers in the Song Dynasty, points out the political tendency and artistic characteristics of the scripts in the Song Dynasty, and also sets up a chapter on case-solving novels and history lectures. The author of this book began to revise four drafts in the 1960s, and it was not published until 1980, which is a careful summary. There are eighteen chapters in the book, which are rich in information, thoroughly studied by the author and rich in content. Mr. Zhao once commented that this book is "an encyclopedia for studying characters".

The scholars mentioned above have made great achievements in the study of storytelling. However, as far as their research objects are concerned, they are basically "ancient storytelling", and they do not study storytelling in the modern sense with the standards of rap literature in a broad sense. Strictly speaking, there are only three monographs in the modern sense:

I. Tan's Study on China's Storytelling (Storytelling) B 16.

Tanda is a famous expert in folk literature. From 1953, he began to study Chinese folk literature, and from 1982, he published A Study on China's storytelling. He published more than 40 monographs in his life, among which The Study of China's Storytelling is one of his representative works. This book is divided into two parts. The first part discusses the characteristics, functions, generation, development, types and traditional art forms of storytelling: rhyming storytelling, new art forms: rhyming storytelling, plot structure, character description and storytelling description. The next part includes the selected works of China's modern traditional storytelling: Song Wu Disturbs Shijiazhuang (Shanxi has a rhyme storytelling), Li Taibai rushes to the exam (Sichuan has a rhyme storytelling), Ancient City Meets (Suzhou has a story about the Three Kingdoms), Huang Gai (Yangzhou has a story about the Three Kingdoms) and Tianbofuhui (Suzhou has a story). This book also includes the selected activities of storytelling in eight cities. In the 1920s, Beiping ballad,1Wuxi Bookstore in Jiangsu Province in the 1920s,1Suzhou Bookstore and Famous Writers in the 1920s,1Shanghai ballad in the 1930s,1Fuzhou ballad in the 1930s,1Taiyuan ballad in Shanxi Province in the 1930s, 30. Although these materials are fragments, they outline the general situation of storytelling in bookstores at that time, which helps us to understand the performance of storytelling in the north and south and in the south. The author also introduces the schools of Yangzhou Pinghua and the ten taboos, ten essentials, eight methods and seven emotions of Guangzhou Cantonese Pinghua. The author worked hard and collected a lot of information, which is very valuable. However, it is inappropriate to divide storytelling into rhyming storytelling and rhyming storytelling. For example, Di Laizhen is a famous bamboo board actor, and his Song Wu Noisy Shijiazhuang is a bamboo board work, while bamboo board and storytelling are two different folk arts, which should not be confused.

Second, 1997 B 17 Wang Jingshou, Wang Jue and Zeng Hui's outstanding edition of "China storytelling art".

The book focuses on storytelling in the north, and does not discuss storytelling in the south. The book consists of twelve chapters: historical origin, development process, aesthetic implication, artistic characteristics, dragon and snake brushwork, structural means, expressive means, appreciation of famous books, bibliography review, comments by famous artists, new views and prospects. The most important part of the book is a detailed discussion of Liang Zi, braids, buttons, opening face, blessing, pasting the last piece, leaving the exit, setting the field and ending, as well as "saying", "acting", "commenting" and "ending". The book also discusses the aesthetic implication of storytelling, and summarizes the artistic characteristics of storytelling, that is, exquisiteness, realism, vividness and humor. There is also a comprehensive analysis and evaluation of famous bibliographies such as Yue Fei Biography, Romance of the Three Kingdoms, Xing Tang Biography, Three Heroes and Five Righteousnesses, and Liaozhai. This book is a weighty work in the study of storytelling so far.

The third is Storytelling-A Reading Book of China's National Essence Art published by Zhang Xiaotao in 2008.

The book is divided into six parts: tracing back to the source-the origin of storytelling, the lost dragon seal-formation and development, talented people from all over the country-prosperity, reform and innovation, a new generation of storytelling-the morning light, the spread and development of storytelling art-a timeless chapter. Focusing on the storyteller, this paper introduces Mo Houguang, Liu Jingting, Shuang Houping, Shi Yukun, Pan, Lian Kuoru, Wang Shaotang, Wang Jiekui,, Pinzhengsan, Gu, Chen Yinque, Ma, Dan, Liu Lanfang, Tian Lianyuan, Lian Liru and He Zuohuan. The purpose of "China National Essence Art Reader" is to "spread our traditional national art to the people of China, especially teenagers, and also show the essence of China culture to the whole world" B 18. Therefore, the book has the characteristics of introduction, description and popularization, and is not academic enough.

It took ten or even twenty years to publish a monograph, which shows that the research on storytelling is sparse. Compared with the study of poetry, drama and novel, this situation cannot but be sighed.

In recent years, few books on storytelling have explored the inherent laws of storytelling, such as its essential characteristics, text literature and performance skills. Researchers focus on the attention of storytellers, and the results are mostly biographies. For example, Gong's Storytelling Story B 19, Li Wei's Story-China Rap Art Series B20, Sarentuya's Story of Kyushu B2 1, Life in the Mouth: The Storyteller B22, and Dan Tianfang's Oral Report. Biography of Dan Tianfang B26, The Legendary Life of Storyteller Dan Tianfang B27, etc.

In this way, the single paper on storytelling also focuses on the life introduction or artistic evaluation of storytelling artists. For example, Wang Mancang and Niu Shuangxi B28' s Rebellion-A Story of Visiting a Famous Storyteller, Hao B29' s Story Fate of Father and Daughter, B30' s Story-Telling Life, B3 1' s Story-Telling Boy on the Rivers and Lakes, and Cui Jinsheng's Story-Telling Boy on the Rivers and Lakes. Su's Liu Lanfang: Quyi Youlan Becomes Famous, B34, Ma Qi's Stone-storytelling artist Chen Rongqi B35, Cheng's Dedicated Storytelling-Summary of the 60th Anniversary Seminar of Art, Wang Chiliang's North-South Storytelling Messenger-My Teacher Liu Lanfang B37, etc. Of course, we should pay attention to the storytelling actors themselves, and the study of them will help us understand how they grew into famous storytelling artists. Their origins, experiences and correct treatment of life hardships have important enlightenment to future generations; Their persistent pursuit of storytelling, the transformation of art and the pursuit of perfection are all worth learning by future generations. However, it is wrong to lack the research on the art of storytelling itself.

There is little research on storytelling works, storytelling content and storytelling style, only involving the following papers: Yang's artistic style of storytelling in Dan Tianfang B38 highly praised his artistic talent from four aspects: clean and fast rhythm, reasonable knowledge, ups and downs and simple language. The artistic style of Dan Tianfang storytelling by Fang Zhenping and Zhan Xiuhua B39 makes a detailed analysis of Dan Tianfang's superb artistic attainments from three aspects: the unique charm of language art, the live performance with rich sounds and emotions, and the color of the times. Pan Yichuan's "People-oriented Thought and National Consciousness are the Background of Traditional storytelling —— A Talk with Expert Mr. Dai" B40 discusses the origin of storytelling, the change of storytelling theme, how to treat the "facelessness" of traditional storytelling, how to express the political ideal and moral pursuit of ordinary people, the patriotic thought and national consciousness in storytelling and the influence of storytelling on the construction of national value system. Although many issues are involved, it is a form of dialogue. The rhythmic beauty of storytelling and its present significance B4 1 written by Wu analyzes the passionate and heroic phonological features in many aspects, and holds that this feature is an inspiration to the Quyi stage where the beauty of phonology is not paid enough attention at present, which can increase the confidence of more female storytellers in storytelling performances.

After 2000, the number of articles discussing the spread of storytelling has gradually increased. Shi Yanfang's B42 takes the large-scale TV storytelling campaign in Liaoning and Shenyang as an example to illustrate that the combination of "three lectures and one commentary" and sound and painting has achieved a win-win situation for TV and storytelling, which is a new exploration and attempt to expand the performance function of TV storytelling. Cai's "Yang Jiajiang Story Communication Overview" B43 systematically collects and sorts out the communication materials from Yang Jiajiang in history to Yang Jiajiang in official unofficial history, from Yang Jiajiang in popular novels to Yang Jiajiang in drama storytelling, and then to Yang Jiajiang stories on TV, movies and even the Internet. It is believed that the main reason why the spread of stories is relatively backward at present is that people no longer attach importance to the traditional idea of Yang's story inheritance. Li Chunyu's Dan Tianfang "Three Selling" storytelling and business model B44 talks about business model from the standpoint of economic management, but it has important enlightenment significance on how storytelling is linked with market economy and how storytelling adapts to modern media means.

Behind the popularity of storytelling, the endangered art of storytelling has attracted some people's attention, and they have put the protection and development of storytelling art on the agenda. When storytelling became a thing of the past, Wang's B45 described the current situation of storytelling crisis. Nowadays, storytelling actors are reluctant to let their children engage in storytelling, and some even change careers and rush into the film and television industry. The fault of storytelling not only broke a generation, but also the persistent attitude of artistic Excellence is rare. Another article by Wang, "Telling stories will never die", B46 is a little optimistic. Tian Lianyuan believes that storytelling is mainly told by one person from multiple angles, which is not available in other art forms. Therefore, storytelling is irreplaceable, it has its own fixed audience. As long as humans exist, storytelling will exist, because people want to listen to stories. Wu's "China Quyi-Current Dilemma and Development Countermeasures" B47 believes that the main problems faced by Quyi, including storytelling, are the lack of new programs with classic character, the lack of high-quality creative talents, the destruction of the traditional mechanism of art inheritance, the misunderstanding of Quyi tradition and the lack of professional knowledge, the lack of popularization and education of basic knowledge of Quyi, and the weakness of Quyi theory and criticism. And put forward the national policy support, the establishment of all kinds of Quyi schools at all levels and the creation of correct public opinion. Wu's Protecting Intangible Cultural Heritage according to the Law of Cultural Events —— Taking the Protection of Quyi as an Example B48, Qing Suizeng's Learning Quyi Business —— My Opinion on Quyi Going to Market B49, Feng Guangyu's Quyi Discipline Construction and Quyi Music Research —— Comment on the 20th Anniversary of Quyi Research Institute of Chinese Academy of Art B50, Jiang Huiming's Dissemination and Inheritance —— Talking about how to make effective use.

As for the relationship between storytelling and sister art, few people pay attention to it. Weng Ouhong's B52 "Talking about Old Beijing" contains the article "storytelling and drama", and thinks that the "most loyal audience" of storytelling should be opera actors. Their hobby of listening to books is not only entertainment, but also absorbing nutrition, dispelling doubts and seeking knowledge. B53 He also proved with a large number of facts: "Storytelling and drama can be said to be sister arts related by blood. Opera actors can draw nutrition from storytelling, and storytelling artists can also draw nutrition from drama. "B54 At present, this is the only article I have seen that compares drama with storytelling. The author himself is a playwright of traditional Chinese opera, and all he mentioned are his own personal experiences. This article is very valuable. Jiang's "On the Connection and Difference between storytelling and fiction" B55 holds that fiction and storytelling are of the same origin, and the art of storytelling was bred in the development of fiction, and storytelling was separated from fiction in the late Ming and early Qing dynasties; Fiction and storytelling are two different artistic concepts, which are different in appreciation, story telling, characterization methods, environmental description, language and so on. Whether his exposition is accurate or not is commendable, because such articles are rare.

In a word, the research of Quyi theory is very weak. The Chinese Academy of Art has only one institution specializing in Quyi. The researchers of Quyi Institute have only been Cai Yuanli and Wu for a long time, and Cai Yuanli has retired. Wei Quyi is the only publication specializing in Quyi articles. There are also few Quyi classes on university campuses. Quyi is like this, and storytelling is even more so. As one of the larger types of Quyi, storytelling is still active, but it faces many difficulties. Apart from storytelling actors' biographies, there are only three monographs and few single papers, which deserve our deep thinking. However, this situation also gives us a lot of space for later scholars to study.

Only when we have a clear understanding of the current research situation of storytelling can we further realize the significance and value of storytelling research:

(a) to enhance the knowledge and understanding of social history, cultural history and the history of Quyi.

The birth, emergence and development of storytelling are closely related to the social conditions at that time, and the study of storytelling naturally contributes to the understanding of social history. In the evolution of human culture and history, "elegance" and "vulgarity" have always been twisted together, both opposing and infiltrating. Elegant culture often accepts the delicate part of vulgar culture, and vulgar culture is always transformed into elegant culture. Storytelling is popular literature, and novels are refined popular literature, but they are twisted together at first. Novels such as Romance of the Three Kingdoms, Water Margin and The Journey to the West are mostly processed by literati on the basis of storytelling, and these novels have influenced the development of storytelling art after their formation. The relationship between them reflects the relationship between elegant culture and popular culture. As a big category in Quyi, the development and change of storytelling reflects the development and change of Quyi history. Therefore, the study of storytelling contributes to the understanding of social history, cultural history and folk art history.

(2) It is helpful to promote the construction of art theory of storytelling.

At present, there are many reasons for the depression of storytelling, one of which is that the academic circles pay insufficient attention to the art of storytelling. Absence and aphasia in the academic field make the self-construction of storytelling theory insufficient. The unconscious development of storytelling art has something to do with unconscious theory. The author hopes that his research can play a role in attracting jade, and let the academic circles pay attention to the construction of storytelling theory.

(3) It is helpful to inherit and carry forward the excellent tradition of storytelling.

Storytelling has attracted a large audience for a long time, which makes people crazy, which is inseparable from the excellent artistic tradition of storytelling itself. However, at present, storytelling has encountered a cold current. Through the study of storytelling, it is of great significance to find out the advantages and disadvantages of storytelling art as much as possible, which is of great significance to the protection and development of storytelling.

(4) We can build and strengthen the confidence that storytelling art will continue to exist and develop in the future society.

Modern society is changing with each passing day, new science and technology are constantly being produced, new artistic styles are constantly being born, and people's aesthetic taste has also changed and improved. As a traditional culture, the art of storytelling has been severely challenged objectively, and the current downturn of storytelling makes people doubt its vitality. Whether storytelling can exist for a long time and whether it is necessary has become a lingering question in people's minds. In order to survive, storytelling must recognize the characteristics of the times and its own shortcomings. How to fully express the aesthetic connotation of storytelling and how to better keep up with the development of the times is a problem worth pondering. Oral literature is the most essential feature of storytelling, and it takes storytelling as its own responsibility. Through the excavation of the essential characteristics of storytelling, the confidence that storytelling can continue to exist is strengthened. Storytelling is a spoken language. As long as the spoken language people use to communicate and communicate does not disappear, storytelling will not disappear. As long as people still want to hear stories, telling stories is necessary.

(5) Research projects of sustainable development.

A comprehensive understanding of the current situation of storytelling and storytelling research can broaden the research horizon and further deepen the research.

The storytelling of an era has the characteristics of an era, such as the study of storytelling in the late Qing Dynasty and the early Republic of China, the study of storytelling in the 1930s and 1940s, the study of storytelling in the 1950s, the study of storytelling in the 1980s and 1990s, etc., which can be discussed in depth in combination with the social background at that time. Representative storytelling works themselves can also be discussed in depth, detail and systematically, such as Strange Tales from a Lonely Studio, The Journey to the West, Water Margin, Romance of the Three Kingdoms, A Dream of Red Mansions and so on. We can compare the relationship between storytelling and novels, find their similarities and differences, and reveal the inherent characteristics and essential differences between storytelling and novels. The storytelling of "Three Heroes and Five Righteousnesses", "Biography of Yue Fei" and "Biography of Yang Jiajiang" can be combined with the background of their times and people's aesthetic taste at that time to explore the reasons for their great success. It is also necessary to deepen the research on storytelling actors and the relationship between drama and Quyi.

Precautions:

(1) Ni Zhongzhi's History of China Quyi, Feng Chun Literature and Art Publishing House, 199 1 edition.

② History of China Quyi by Cai Yuanli and Wu, Culture and Art Publishing House, 1998.

(3) Jiang Kun and Ni Zhongzhi (co-editor. ) General History of China Quyi, People's Literature Publishing House, 2005.

(4) and Dai (co-edited. ) Introduction to China Quyi, People's Literature Publishing House, 2005.

⑤ Li Weng's The Remarkable Lian Kuoru, Contemporary China Press, 2005, p. 57.

⑥ Sun Jiedi's Popular Talks, Speeches and Vernacular Novels, Writers Publishing House, 1956 edition.

⑦ Sun Jiedi's Popular Talk, Speech and Vernacular Novel, Writers Publishing House, 1956, p. 2.

⑧ Ye Dejun's Rap Literature of Song, Yuan and Ming Dynasties, Classical Literature Publishing House, 1957 edition. Later income Ye Dejun's Collection of China Opera Novels, Zhonghua Book Company, 1979 edition.

Pet-name ruby Chen Ruheng storytelling, Zhonghua Book Company, 1936 edition.

Attending Chen Ruheng's History of storytelling, Writers Publishing House, 1958 edition.

B 1 1 Chen Ruheng, History of storytelling in Song Dynasty, Shanghai Literature and Art Publishing House, 1979.

B 12 Chen ruheng's storyteller Liu jingting, Shanghai silian bookstore, 1954 edition.

B 13 Chen ruheng's storyteller Liu jingting, Shanghai literature and art publishing house, 1979 edition.

B 14 Cheng Yizhong's Tales of Song and Yuan Dynasties, Zhonghua Book Company, 1964 edition.

B 15 A New Story by Hu Shiying, Zhonghua Book Company, 1980 edition.

B 16 Tan's Study on China's storytelling (storytelling), Hong Kong Branch of the Commercial Press, 1982.

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Author: Li Xiaohong Source: "Art Hundred Schools"