Difference between revisions of "User:Zhou Tianyi"
Zhou Tianyi (talk | contribs) |
Zhou Tianyi (talk | contribs) |
||
| Line 1: | Line 1: | ||
| − | |||
| − | + | = '''Changle Taige Storytelling Festival''' = | |
| − | ''' | ||
| − | ''' | + | == '''Introduction''' == |
The Changle Taige Storytelling Festival is a unique folk treasure of Miluo, passed down for over a thousand years. It carries deep historical, cultural meaning, and strong local character. Performers dress themselves as characters from history or legend, then act out scenes from these stories. Within the festival, two groups formed naturally based on location: the Upper Market Street group and the Lower Market Street group. These two groups are in a state of friendly rivalry – they compete (Bi) through their storytelling. | The Changle Taige Storytelling Festival is a unique folk treasure of Miluo, passed down for over a thousand years. It carries deep historical, cultural meaning, and strong local character. Performers dress themselves as characters from history or legend, then act out scenes from these stories. Within the festival, two groups formed naturally based on location: the Upper Market Street group and the Lower Market Street group. These two groups are in a state of friendly rivalry – they compete (Bi) through their storytelling. | ||
| Line 12: | Line 10: | ||
As a key part of Chinese Taige folk customs, the Changle Taige Storytelling Festival runs from Chinese New Year to the Lantern Festival (Xu Ting, 2020). In 2011, the Changle Taige Storytelling Festival was added to China’s third National List of Intangible Cultural Heritage. | As a key part of Chinese Taige folk customs, the Changle Taige Storytelling Festival runs from Chinese New Year to the Lantern Festival (Xu Ting, 2020). In 2011, the Changle Taige Storytelling Festival was added to China’s third National List of Intangible Cultural Heritage. | ||
| − | ''' | + | |
| + | == '''Origins and Development of the Festival''' == | ||
There are several theories about how the festival began. The Di Huagu Evolution Theory suggests it grew from people’s love of the Di Huagu (ground flower-drum opera). People recalled stories, imagined scenes, then had blacksmiths build frames to carry performers. These were used for street performances during Chinese New Year, eventually evolving into the festival. The Flower Lantern Evolution Theory proposes it developed from early flower lantern shows. As performances became richer and skills improved, the unique Taige (pavilion-raising) style emerged. The Qu Yuan Commemoration Theory highlights that Miluo is where the poet Qu Yuan drowned himself. The festival might have started as a cultural activity to honor him, telling his story and passing on patriotic spirit. Each theory has its basis, together showing the festival’s deep roots in local culture and its possible diverse origins. | There are several theories about how the festival began. The Di Huagu Evolution Theory suggests it grew from people’s love of the Di Huagu (ground flower-drum opera). People recalled stories, imagined scenes, then had blacksmiths build frames to carry performers. These were used for street performances during Chinese New Year, eventually evolving into the festival. The Flower Lantern Evolution Theory proposes it developed from early flower lantern shows. As performances became richer and skills improved, the unique Taige (pavilion-raising) style emerged. The Qu Yuan Commemoration Theory highlights that Miluo is where the poet Qu Yuan drowned himself. The festival might have started as a cultural activity to honor him, telling his story and passing on patriotic spirit. Each theory has its basis, together showing the festival’s deep roots in local culture and its possible diverse origins. | ||
| Line 18: | Line 17: | ||
The festival’s journey has had ups and downs. During the Sui and Tang Dynasties, as society and the economy grew, and cultural exchange increased, similar folk performances began, laying the foundation for Changle’s festival. It truly flourished during the Ming and Qing Dynasties. Performances were grand, the stories were varied, and the skills were superb. It became widely influential locally and beyond, a key cultural symbol for Miluo. However, in the 1960s, due to social upheaval and changing cultural attitudes, the festival was interrupted and nearly lost. Thanks to efforts by people like Chen Fanxing, it was revived starting with a Children’s Day storytelling event in 1986. The tradition came back to life, entering a new chapter. | The festival’s journey has had ups and downs. During the Sui and Tang Dynasties, as society and the economy grew, and cultural exchange increased, similar folk performances began, laying the foundation for Changle’s festival. It truly flourished during the Ming and Qing Dynasties. Performances were grand, the stories were varied, and the skills were superb. It became widely influential locally and beyond, a key cultural symbol for Miluo. However, in the 1960s, due to social upheaval and changing cultural attitudes, the festival was interrupted and nearly lost. Thanks to efforts by people like Chen Fanxing, it was revived starting with a Children’s Day storytelling event in 1986. The tradition came back to life, entering a new chapter. | ||
| − | ''' | + | |
| + | == '''The Four Performance Styles''' == | ||
The Changle Taige Storytelling Festival features four distinct performance styles: Di Gushi (Ground Stories), Ditai Gushi (Platform Stories), Gaocai Gushi (High Color Stories), and Gaoqiao Gushi (Stilt Stories) that emphasize being tall, creative, and unique. It’s supported by elements like assembly flags, colored flags, horizontal and vertical boards, lanterns, oil drums, imposing gongs and drums, and bands. Also included are dragon dances (with colored and fire dragons), lion dances, waist drums, yangge dances, and lotus boat performances (Xie Yu, 2014). Di Gushi take place at street level, where performers weave through lanes and alleys using exaggerated movements and humorous expressions; their life-like, laughter-filled acts convey folk wisdom and wit. Ditai Gushi unfold on meter-high wooden stages, emphasizing intricate sets; within this compact space, actors deliver compelling tales where scenery and performance enhance each other, creating picturesque scenes that transport audiences into historical moments. Gaocai Gushi feature performers perched mid-air on suspended steel frames; their daring, fantastical poses and movements showcase extraordinary skill, sparking boundless imagination. Gaoqiao Gushi rely on stilts ranging from one to five meters tall; actors walk and perform atop them, presenting distinctive stage presence through unique perspectives and agile movements. | The Changle Taige Storytelling Festival features four distinct performance styles: Di Gushi (Ground Stories), Ditai Gushi (Platform Stories), Gaocai Gushi (High Color Stories), and Gaoqiao Gushi (Stilt Stories) that emphasize being tall, creative, and unique. It’s supported by elements like assembly flags, colored flags, horizontal and vertical boards, lanterns, oil drums, imposing gongs and drums, and bands. Also included are dragon dances (with colored and fire dragons), lion dances, waist drums, yangge dances, and lotus boat performances (Xie Yu, 2014). Di Gushi take place at street level, where performers weave through lanes and alleys using exaggerated movements and humorous expressions; their life-like, laughter-filled acts convey folk wisdom and wit. Ditai Gushi unfold on meter-high wooden stages, emphasizing intricate sets; within this compact space, actors deliver compelling tales where scenery and performance enhance each other, creating picturesque scenes that transport audiences into historical moments. Gaocai Gushi feature performers perched mid-air on suspended steel frames; their daring, fantastical poses and movements showcase extraordinary skill, sparking boundless imagination. Gaoqiao Gushi rely on stilts ranging from one to five meters tall; actors walk and perform atop them, presenting distinctive stage presence through unique perspectives and agile movements. | ||
| − | ''' | + | |
| + | == '''The Culture of Competition (Bi)''' == | ||
The spirit of competition (Bi) is at the heart of how the festival works. During the festival, the Upper Market Street and Lower Market Street groups in Changle Town have a story-telling competition. The intensity of the competition reflects how wonderful the stories are. The fiercer the battle, the richer the folk culture (Tang Jianfeng, 2019). Before the performances, the two groups formally challenge each other, sometimes sending a letter via stilt walkers. During preparation, they even send “spies” to learn about the other side’s stories, character designs, and new ideas. The actual story battles are spectacular. For example, one group might perform Twelve Widows March West while the other counters with Thirteen Monks Save the Tang Emperor. They compete on story content, skill, costumes, and props. This rivalry pushes both sides to be more creative and energetic. Interestingly, in the ancient town of Changle, people have been competing in storytelling every year for centuries without any conflicts arising (Zhou Haiyan, 2011). This is because such interactive and collaborative competition actually builds strong community bonds. People from different streets and families come together to join their team or cheer it on. This strengthens their connection to each other and their shared local culture. The Changle Taige Storytelling Festival becomes a vital link, bringing the community together and keeping their traditions alive. | The spirit of competition (Bi) is at the heart of how the festival works. During the festival, the Upper Market Street and Lower Market Street groups in Changle Town have a story-telling competition. The intensity of the competition reflects how wonderful the stories are. The fiercer the battle, the richer the folk culture (Tang Jianfeng, 2019). Before the performances, the two groups formally challenge each other, sometimes sending a letter via stilt walkers. During preparation, they even send “spies” to learn about the other side’s stories, character designs, and new ideas. The actual story battles are spectacular. For example, one group might perform Twelve Widows March West while the other counters with Thirteen Monks Save the Tang Emperor. They compete on story content, skill, costumes, and props. This rivalry pushes both sides to be more creative and energetic. Interestingly, in the ancient town of Changle, people have been competing in storytelling every year for centuries without any conflicts arising (Zhou Haiyan, 2011). This is because such interactive and collaborative competition actually builds strong community bonds. People from different streets and families come together to join their team or cheer it on. This strengthens their connection to each other and their shared local culture. The Changle Taige Storytelling Festival becomes a vital link, bringing the community together and keeping their traditions alive. | ||
| − | |||
| − | + | == '''References''' == | |
| + | |||
| + | [1]Tang Jianfeng唐健峰.非物质文化遗产视野下传统民俗文化的保护与传承——以湖南汨罗长乐抬阁故事会为例[Preservation and Transmission of Traditional Folk Culture from the Perspective of Intangible Cultural Heritage: A Case Study of the Changle Taige Storytelling Festival in Miluo, Hunan].四川戏剧''Journal of Sichuan Drama'',2019,(07):122-125. | ||
| + | |||
| + | [2]Xie Yu谢玉.文化生态视野下民俗体育传承与发展研究[Research on the Inheritance and Development of Folk Sports from the Perspective of Cultural Ecology].湖南师范大学Hunan Normal University,2014. | ||
| − | + | [3]Xu Ting许婷.春节中的抬阁民俗研究[Research on the Taige Folk Custom during the Spring Festival].中国艺术研究院Chinese National Academy of Arts,2020. DOI:10.27653/d.cnki.gzysy.2020.000062. | |
| − | + | [4]Zhou Haiyan周海燕.试论长乐故事会的历史渊源及时代意义[On the Historical Origins and Contemporary Significance of the Changle Storytelling Festival].文艺生活(艺术中国)''Art Life (China’s Art Scene)'',2011,(10):135-138. | |
| − | + | [5]Baidu Encyclopedia 百度百科: Changle Taige Storytelling Festival, 长乐抬阁故事会 https://baike. baidu.https://baike.baidu.com/item/%E6%8A%AC%E9%98%81%EF%BC%88%E9%95%BF%E4%B9%90%E6%8A%AC%E9%98%81%E6%95%85%E4%BA%8B%E4%BC%9A%EF%BC%89/53964408 | |
| − | |||
| − | '''Terms and Expressions''' | + | == '''Terms and Expressions''' == |
长乐抬阁故事会 Changle Taige Storytelling Festival | 长乐抬阁故事会 Changle Taige Storytelling Festival | ||
| + | |||
地花鼓 Di Huagu (ground flower-drum opera) | 地花鼓 Di Huagu (ground flower-drum opera) | ||
| + | |||
花灯 flower lantern shows | 花灯 flower lantern shows | ||
| + | |||
地故事 Di Gushi (Ground Stories) | 地故事 Di Gushi (Ground Stories) | ||
| + | |||
地台故事 Ditai Gushi (Platform Stories) | 地台故事 Ditai Gushi (Platform Stories) | ||
| + | |||
高彩故事 Gaocai Gushi (High Color Stories) | 高彩故事 Gaocai Gushi (High Color Stories) | ||
| + | |||
高跷故事 Gaoqiao Gushi (Stilt Stories) | 高跷故事 Gaoqiao Gushi (Stilt Stories) | ||
| + | |||
上市街 Upper Market Street group | 上市街 Upper Market Street group | ||
| + | |||
下市街 Lower Market Street group | 下市街 Lower Market Street group | ||
| − | '''Questions''' | + | |
| + | == '''Questions''' == | ||
1.When was the Changle Taige Storytelling Festival inscribed into China’s third National List of Intangible Cultural Heritage? | 1.When was the Changle Taige Storytelling Festival inscribed into China’s third National List of Intangible Cultural Heritage? | ||
| + | |||
2.How many origin theories exist for the Changle Taige Storytelling Festival and what are they? | 2.How many origin theories exist for the Changle Taige Storytelling Festival and what are they? | ||
| + | |||
3.Who revived the Changle Taige Storytelling Festival in 1986? | 3.Who revived the Changle Taige Storytelling Festival in 1986? | ||
| + | |||
4.How is Gaoqiao Gushi performed? | 4.How is Gaoqiao Gushi performed? | ||
| + | |||
5.What is the significance of the culture of competition (Bi)? | 5.What is the significance of the culture of competition (Bi)? | ||
| − | '''AI Statement''' | + | |
| + | == '''AI Statement''' == | ||
| + | |||
I hereby guarantee that I have not used the help of AI to write my final paper in this course. | I hereby guarantee that I have not used the help of AI to write my final paper in this course. | ||
| − | |||
| − | + | = '''汨罗长乐故事会''' = | |
| + | |||
| − | + | == '''引言''' == | |
长乐抬阁故事会作为汨罗地区独特的民俗文化瑰宝，历经千年传承，承载着深厚的历史文化内涵与地域特色。演员们把自己装扮成一个个历史或传说中的人物，表演一段段故事。总故事会内部根据地域分化成上市街故事会和下市街故事会两个分会，两个故事分会处于相互竞争的状态，即“比”故事。 | 长乐抬阁故事会作为汨罗地区独特的民俗文化瑰宝，历经千年传承，承载着深厚的历史文化内涵与地域特色。演员们把自己装扮成一个个历史或传说中的人物，表演一段段故事。总故事会内部根据地域分化成上市街故事会和下市街故事会两个分会，两个故事分会处于相互竞争的状态，即“比”故事。 | ||
| Line 74: | Line 92: | ||
长乐抬阁故事会作为中国抬阁民俗中的重要部分，其活动时间从农历正月初一至元宵佳节，贯穿整个年节期间（许婷，2020）。2011年，长乐抬阁故事会成功入选第三批国家级非物质文化遗产代表作名录，成为民俗类非遗的重要保护对象。 | 长乐抬阁故事会作为中国抬阁民俗中的重要部分，其活动时间从农历正月初一至元宵佳节，贯穿整个年节期间（许婷，2020）。2011年，长乐抬阁故事会成功入选第三批国家级非物质文化遗产代表作名录，成为民俗类非遗的重要保护对象。 | ||
| − | ''' | + | |
| + | == '''长乐抬阁故事会的起源和发展''' == | ||
关于长乐抬阁故事会的起源众说纷纭。“地花鼓演变说”认为，它是前人在对地花鼓的爱好上, 根据印象对剧情进行回顾、构思与再塑造, 随后交付铁匠们实验与打造, 最后用于春节期间的商业表演演化而来。“花灯演变说”指出，它可能由早期的花灯表演逐渐演变而来，随着表演形式的丰富与技艺的提升，形成了独特的抬阁表演。而“纪念屈原说”强调，汨罗作为屈原投江之地，长乐抬阁故事会或许是为了纪念屈原而兴起的一种文化活动，通过表演讲述屈原的故事，传承爱国精神。这些起源说各有依据，共同反映了长乐抬阁故事会深厚的地域文化根基与多元的起源可能性。 | 关于长乐抬阁故事会的起源众说纷纭。“地花鼓演变说”认为，它是前人在对地花鼓的爱好上, 根据印象对剧情进行回顾、构思与再塑造, 随后交付铁匠们实验与打造, 最后用于春节期间的商业表演演化而来。“花灯演变说”指出，它可能由早期的花灯表演逐渐演变而来，随着表演形式的丰富与技艺的提升，形成了独特的抬阁表演。而“纪念屈原说”强调，汨罗作为屈原投江之地，长乐抬阁故事会或许是为了纪念屈原而兴起的一种文化活动，通过表演讲述屈原的故事，传承爱国精神。这些起源说各有依据，共同反映了长乐抬阁故事会深厚的地域文化根基与多元的起源可能性。 | ||
| Line 80: | Line 99: | ||
长乐抬阁故事会的发展历程跌宕起伏。隋唐时期，随着社会经济的发展与文化交流的频繁，类似的民俗表演形式开始萌芽，为长乐抬阁故事会的形成奠定了基础。明清时期，它迎来了兴盛阶段，表演规模宏大、剧目丰富多样、技艺精湛绝伦，在当地乃至周边地区都产生了广泛的影响，成为汨罗地区重要的文化名片。然而，在 上世纪60年代，由于社会动荡、文化观念转变等多种因素的冲击，长乐抬阁故事会一度中断，面临失传的困境。直到1986年，在陈范兴等有识之士的推动下，以六一儿童节故事会为开端，这一传统民俗活动得以复兴，重新焕发出勃勃生机，开启了新的发展篇章。 | 长乐抬阁故事会的发展历程跌宕起伏。隋唐时期，随着社会经济的发展与文化交流的频繁，类似的民俗表演形式开始萌芽，为长乐抬阁故事会的形成奠定了基础。明清时期，它迎来了兴盛阶段，表演规模宏大、剧目丰富多样、技艺精湛绝伦，在当地乃至周边地区都产生了广泛的影响，成为汨罗地区重要的文化名片。然而，在 上世纪60年代，由于社会动荡、文化观念转变等多种因素的冲击，长乐抬阁故事会一度中断，面临失传的困境。直到1986年，在陈范兴等有识之士的推动下，以六一儿童节故事会为开端，这一传统民俗活动得以复兴，重新焕发出勃勃生机，开启了新的发展篇章。 | ||
| − | ''' | + | |
| + | == '''四类表演形式''' == | ||
长乐故事会主要有地故事、地台故事、高彩故事和具有“高、新、奇”等特点的高跷故事四大类，再以会旗、彩旗、横竖牌區彩灯、油筒、威风锣鼓、乐队为辅，并配以玩龙（分为彩龙、火龙两种）、舞狮、腰鼓、秧歌、采莲船等穿插其间（谢玉，2014）。地故事以地面行走为载体，表演者通过夸张的肢体动作与幽默的表情，在大街小巷穿行表演，贴近生活、引人发笑，传递着民间的智慧与幽默。地台故事借助1米高的木台，注重布景的精细打造，演员在有限的空间内演绎精彩故事，布景与表演相得益彰，营造出如诗如画的舞台效果，使观众仿佛置身于历史情境之中。高彩故事依托悬空钢架，演员凌空而立，通过惊险奇幻的造型与动作，展现出超凡的技艺，激发无限的想象力。高跷故事则凭借1-5米的高跷，演员在高跷上行走、表演，以独特的视角与灵活的身姿，呈现出别样的舞台风采。 | 长乐故事会主要有地故事、地台故事、高彩故事和具有“高、新、奇”等特点的高跷故事四大类，再以会旗、彩旗、横竖牌區彩灯、油筒、威风锣鼓、乐队为辅，并配以玩龙（分为彩龙、火龙两种）、舞狮、腰鼓、秧歌、采莲船等穿插其间（谢玉，2014）。地故事以地面行走为载体，表演者通过夸张的肢体动作与幽默的表情，在大街小巷穿行表演，贴近生活、引人发笑，传递着民间的智慧与幽默。地台故事借助1米高的木台，注重布景的精细打造，演员在有限的空间内演绎精彩故事，布景与表演相得益彰，营造出如诗如画的舞台效果，使观众仿佛置身于历史情境之中。高彩故事依托悬空钢架，演员凌空而立，通过惊险奇幻的造型与动作，展现出超凡的技艺，激发无限的想象力。高跷故事则凭借1-5米的高跷，演员在高跷上行走、表演，以独特的视角与灵活的身姿，呈现出别样的舞台风采。 | ||
| − | ''' | + | |
| + | == '''“比” 文化''' == | ||
“比” 文化是长乐抬阁故事会的核心运作机制。长乐抬阁故事会期间,长乐镇上市街和下市街两个团体就要进行故事会比赛。故事比拼的激烈程度直接反应故事演绎得是否精彩,上下两街比拼故事的气氛越浓,民俗味就更浓（唐健峰，2019）。两大阵营在表演前会通过踩高跷者传递战书，正式发起挑战；双方在筹备阶段还会派遣“探子”互相刺探对方的故事内容、阵容设计及创新点；故事对垒更是精彩纷呈，如《十二寡妇征西》与《十三和尚救唐》的正面交锋，双方在表演内容、技艺展示、服装道具等方面一较高下，激发彼此的创新动力与竞争活力。有意思的是，古镇长乐人年年“比”故事，比了几百年，也从来没有比出矛盾来（周海燕,2011)。因为，这种基于 “比” 的互动与协作反而强化了社区凝聚力，不同街巷、姓氏的居民因共同参与比赛、为自家队伍加油助威而更加团结，增强了对本土文化的认同感与归属感，使长乐抬阁故事会成为凝聚社区力量、传承地域文化的重要纽带。 | “比” 文化是长乐抬阁故事会的核心运作机制。长乐抬阁故事会期间,长乐镇上市街和下市街两个团体就要进行故事会比赛。故事比拼的激烈程度直接反应故事演绎得是否精彩,上下两街比拼故事的气氛越浓,民俗味就更浓（唐健峰，2019）。两大阵营在表演前会通过踩高跷者传递战书，正式发起挑战；双方在筹备阶段还会派遣“探子”互相刺探对方的故事内容、阵容设计及创新点；故事对垒更是精彩纷呈，如《十二寡妇征西》与《十三和尚救唐》的正面交锋，双方在表演内容、技艺展示、服装道具等方面一较高下，激发彼此的创新动力与竞争活力。有意思的是，古镇长乐人年年“比”故事，比了几百年，也从来没有比出矛盾来（周海燕,2011)。因为，这种基于 “比” 的互动与协作反而强化了社区凝聚力，不同街巷、姓氏的居民因共同参与比赛、为自家队伍加油助威而更加团结，增强了对本土文化的认同感与归属感，使长乐抬阁故事会成为凝聚社区力量、传承地域文化的重要纽带。 | ||
| − | |||
| − | + | == '''参考文献''' == | |
| + | |||
| + | [1]唐健峰.非物质文化遗产视野下传统民俗文化的保护与传承——以湖南汨罗长乐抬阁故事会为例[J].四川戏剧,2019,(07):122-125. | ||
| + | |||
| + | [2]谢玉.文化生态视野下民俗体育传承与发展研究[D].湖南师范大学,2014. | ||
| − | + | [3]许婷.春节中的抬阁民俗研究[D].中国艺术研究院,2020. DOI:10.27653/d.cnki.gzysy.2020.000062. | |
| − | + | [4]周海燕.试论长乐故事会的历史渊源及时代意义[J].文艺生活(艺术中国),2011,(10):135-138. | |
| − | + | [5]Baidu Encyclopedia 百度百科: Changle Taige Storytelling Festival, 长乐抬阁故事会 https://baike. baidu.https://baike.baidu.com/item/%E6%8A%AC%E9%98%81%EF%BC%88%E9%95%BF%E4%B9%90%E6%8A%AC%E9%98%81%E6%95%85%E4%BA%8B%E4%BC%9A%EF%BC%89/53964408 | |
| − | |||
| − | '''术语和表达''' | + | == '''术语和表达''' == |
长乐抬阁故事会 Changle Taige Storytelling Festival | 长乐抬阁故事会 Changle Taige Storytelling Festival | ||
| + | |||
地花鼓 Di Huagu (ground flower-drum opera) | 地花鼓 Di Huagu (ground flower-drum opera) | ||
| + | |||
花灯 flower lantern shows | 花灯 flower lantern shows | ||
| + | |||
地故事 Di Gushi (Ground Stories) | 地故事 Di Gushi (Ground Stories) | ||
| + | |||
地台故事 Ditai Gushi (Platform Stories) | 地台故事 Ditai Gushi (Platform Stories) | ||
| + | |||
高彩故事 Gaocai Gushi (High Color Stories) | 高彩故事 Gaocai Gushi (High Color Stories) | ||
| + | |||
高跷故事 Gaoqiao Gushi (Stilt Stories) | 高跷故事 Gaoqiao Gushi (Stilt Stories) | ||
| + | |||
上市街 Upper Market Street group | 上市街 Upper Market Street group | ||
| + | |||
下市街 Lower Market Street group | 下市街 Lower Market Street group | ||
| − | '''问题''' | + | |
| + | == '''问题''' == | ||
1.长乐抬阁故事会哪一年入选第三批国家级非物质文化遗产名录？ | 1.长乐抬阁故事会哪一年入选第三批国家级非物质文化遗产名录？ | ||
| + | |||
2.长乐抬阁故事会的起源有几种说法？分别是什么？ | 2.长乐抬阁故事会的起源有几种说法？分别是什么？ | ||
| + | |||
3.在谁的推动下，长乐抬阁故事会于1986年得以复兴？ | 3.在谁的推动下，长乐抬阁故事会于1986年得以复兴？ | ||
| + | |||
4.高跷故事是如何表演的？ | 4.高跷故事是如何表演的？ | ||
| + | |||
5.“比”文化有什么意义？ | 5.“比”文化有什么意义？ | ||
| − | '''AI声明''' | + | |
| + | == '''AI声明''' == | ||
本人郑重声明，本人在本次课程的期末论文撰写过程中未使用任何AI工具。 | 本人郑重声明，本人在本次课程的期末论文撰写过程中未使用任何AI工具。 | ||
Latest revision as of 10:59, 18 June 2025
Changle Taige Storytelling Festival
Introduction
The Changle Taige Storytelling Festival is a unique folk treasure of Miluo, passed down for over a thousand years. It carries deep historical, cultural meaning, and strong local character. Performers dress themselves as characters from history or legend, then act out scenes from these stories. Within the festival, two groups formed naturally based on location: the Upper Market Street group and the Lower Market Street group. These two groups are in a state of friendly rivalry – they compete (Bi) through their storytelling.
The Changle Taige Storytelling Festival has a long history. Research suggests it started during the Sui and Tang Dynasties, flourished during the Ming and Qing Dynasties, and reached its peak in the 1980s. Over time, it has become one of the most beloved folk arts among the people of northern Hunan.
As a key part of Chinese Taige folk customs, the Changle Taige Storytelling Festival runs from Chinese New Year to the Lantern Festival (Xu Ting, 2020). In 2011, the Changle Taige Storytelling Festival was added to China’s third National List of Intangible Cultural Heritage.
Origins and Development of the Festival
There are several theories about how the festival began. The Di Huagu Evolution Theory suggests it grew from people’s love of the Di Huagu (ground flower-drum opera). People recalled stories, imagined scenes, then had blacksmiths build frames to carry performers. These were used for street performances during Chinese New Year, eventually evolving into the festival. The Flower Lantern Evolution Theory proposes it developed from early flower lantern shows. As performances became richer and skills improved, the unique Taige (pavilion-raising) style emerged. The Qu Yuan Commemoration Theory highlights that Miluo is where the poet Qu Yuan drowned himself. The festival might have started as a cultural activity to honor him, telling his story and passing on patriotic spirit. Each theory has its basis, together showing the festival’s deep roots in local culture and its possible diverse origins.
The festival’s journey has had ups and downs. During the Sui and Tang Dynasties, as society and the economy grew, and cultural exchange increased, similar folk performances began, laying the foundation for Changle’s festival. It truly flourished during the Ming and Qing Dynasties. Performances were grand, the stories were varied, and the skills were superb. It became widely influential locally and beyond, a key cultural symbol for Miluo. However, in the 1960s, due to social upheaval and changing cultural attitudes, the festival was interrupted and nearly lost. Thanks to efforts by people like Chen Fanxing, it was revived starting with a Children’s Day storytelling event in 1986. The tradition came back to life, entering a new chapter.
The Four Performance Styles
The Changle Taige Storytelling Festival features four distinct performance styles: Di Gushi (Ground Stories), Ditai Gushi (Platform Stories), Gaocai Gushi (High Color Stories), and Gaoqiao Gushi (Stilt Stories) that emphasize being tall, creative, and unique. It’s supported by elements like assembly flags, colored flags, horizontal and vertical boards, lanterns, oil drums, imposing gongs and drums, and bands. Also included are dragon dances (with colored and fire dragons), lion dances, waist drums, yangge dances, and lotus boat performances (Xie Yu, 2014). Di Gushi take place at street level, where performers weave through lanes and alleys using exaggerated movements and humorous expressions; their life-like, laughter-filled acts convey folk wisdom and wit. Ditai Gushi unfold on meter-high wooden stages, emphasizing intricate sets; within this compact space, actors deliver compelling tales where scenery and performance enhance each other, creating picturesque scenes that transport audiences into historical moments. Gaocai Gushi feature performers perched mid-air on suspended steel frames; their daring, fantastical poses and movements showcase extraordinary skill, sparking boundless imagination. Gaoqiao Gushi rely on stilts ranging from one to five meters tall; actors walk and perform atop them, presenting distinctive stage presence through unique perspectives and agile movements.
The Culture of Competition (Bi)
The spirit of competition (Bi) is at the heart of how the festival works. During the festival, the Upper Market Street and Lower Market Street groups in Changle Town have a story-telling competition. The intensity of the competition reflects how wonderful the stories are. The fiercer the battle, the richer the folk culture (Tang Jianfeng, 2019). Before the performances, the two groups formally challenge each other, sometimes sending a letter via stilt walkers. During preparation, they even send “spies” to learn about the other side’s stories, character designs, and new ideas. The actual story battles are spectacular. For example, one group might perform Twelve Widows March West while the other counters with Thirteen Monks Save the Tang Emperor. They compete on story content, skill, costumes, and props. This rivalry pushes both sides to be more creative and energetic. Interestingly, in the ancient town of Changle, people have been competing in storytelling every year for centuries without any conflicts arising (Zhou Haiyan, 2011). This is because such interactive and collaborative competition actually builds strong community bonds. People from different streets and families come together to join their team or cheer it on. This strengthens their connection to each other and their shared local culture. The Changle Taige Storytelling Festival becomes a vital link, bringing the community together and keeping their traditions alive.
References
[1]Tang Jianfeng唐健峰.非物质文化遗产视野下传统民俗文化的保护与传承——以湖南汨罗长乐抬阁故事会为例[Preservation and Transmission of Traditional Folk Culture from the Perspective of Intangible Cultural Heritage: A Case Study of the Changle Taige Storytelling Festival in Miluo, Hunan].四川戏剧Journal of Sichuan Drama,2019,(07):122-125.
[2]Xie Yu谢玉.文化生态视野下民俗体育传承与发展研究[Research on the Inheritance and Development of Folk Sports from the Perspective of Cultural Ecology].湖南师范大学Hunan Normal University,2014.
[3]Xu Ting许婷.春节中的抬阁民俗研究[Research on the Taige Folk Custom during the Spring Festival].中国艺术研究院Chinese National Academy of Arts,2020. DOI:10.27653/d.cnki.gzysy.2020.000062.
[4]Zhou Haiyan周海燕.试论长乐故事会的历史渊源及时代意义[On the Historical Origins and Contemporary Significance of the Changle Storytelling Festival].文艺生活(艺术中国)Art Life (China’s Art Scene),2011,(10):135-138.
[5]Baidu Encyclopedia 百度百科: Changle Taige Storytelling Festival, 长乐抬阁故事会 https://baike. baidu.https://baike.baidu.com/item/%E6%8A%AC%E9%98%81%EF%BC%88%E9%95%BF%E4%B9%90%E6%8A%AC%E9%98%81%E6%95%85%E4%BA%8B%E4%BC%9A%EF%BC%89/53964408
Terms and Expressions
长乐抬阁故事会 Changle Taige Storytelling Festival
地花鼓 Di Huagu (ground flower-drum opera)
花灯 flower lantern shows
地故事 Di Gushi (Ground Stories)
地台故事 Ditai Gushi (Platform Stories)
高彩故事 Gaocai Gushi (High Color Stories)
高跷故事 Gaoqiao Gushi (Stilt Stories)
上市街 Upper Market Street group
下市街 Lower Market Street group
Questions
1.When was the Changle Taige Storytelling Festival inscribed into China’s third National List of Intangible Cultural Heritage?
2.How many origin theories exist for the Changle Taige Storytelling Festival and what are they?
3.Who revived the Changle Taige Storytelling Festival in 1986?
4.How is Gaoqiao Gushi performed?
5.What is the significance of the culture of competition (Bi)?
AI Statement
I hereby guarantee that I have not used the help of AI to write my final paper in this course.
汨罗长乐故事会
引言
长乐抬阁故事会作为汨罗地区独特的民俗文化瑰宝，历经千年传承，承载着深厚的历史文化内涵与地域特色。演员们把自己装扮成一个个历史或传说中的人物，表演一段段故事。总故事会内部根据地域分化成上市街故事会和下市街故事会两个分会，两个故事分会处于相互竞争的状态，即“比”故事。
长乐抬阁故事会历史悠久，传承千年，据考证源于隋唐，盛于明清，上世纪八十年代已达顶峰。随着时代的变迁，已成为湘北地区人民群众最喜爱的民间文化艺术之一。
长乐抬阁故事会作为中国抬阁民俗中的重要部分，其活动时间从农历正月初一至元宵佳节，贯穿整个年节期间（许婷，2020）。2011年，长乐抬阁故事会成功入选第三批国家级非物质文化遗产代表作名录，成为民俗类非遗的重要保护对象。
长乐抬阁故事会的起源和发展
关于长乐抬阁故事会的起源众说纷纭。“地花鼓演变说”认为，它是前人在对地花鼓的爱好上, 根据印象对剧情进行回顾、构思与再塑造, 随后交付铁匠们实验与打造, 最后用于春节期间的商业表演演化而来。“花灯演变说”指出，它可能由早期的花灯表演逐渐演变而来，随着表演形式的丰富与技艺的提升，形成了独特的抬阁表演。而“纪念屈原说”强调，汨罗作为屈原投江之地，长乐抬阁故事会或许是为了纪念屈原而兴起的一种文化活动，通过表演讲述屈原的故事，传承爱国精神。这些起源说各有依据，共同反映了长乐抬阁故事会深厚的地域文化根基与多元的起源可能性。
长乐抬阁故事会的发展历程跌宕起伏。隋唐时期，随着社会经济的发展与文化交流的频繁，类似的民俗表演形式开始萌芽，为长乐抬阁故事会的形成奠定了基础。明清时期，它迎来了兴盛阶段，表演规模宏大、剧目丰富多样、技艺精湛绝伦，在当地乃至周边地区都产生了广泛的影响，成为汨罗地区重要的文化名片。然而，在 上世纪60年代，由于社会动荡、文化观念转变等多种因素的冲击，长乐抬阁故事会一度中断，面临失传的困境。直到1986年，在陈范兴等有识之士的推动下，以六一儿童节故事会为开端，这一传统民俗活动得以复兴，重新焕发出勃勃生机，开启了新的发展篇章。
四类表演形式
长乐故事会主要有地故事、地台故事、高彩故事和具有“高、新、奇”等特点的高跷故事四大类，再以会旗、彩旗、横竖牌區彩灯、油筒、威风锣鼓、乐队为辅，并配以玩龙（分为彩龙、火龙两种）、舞狮、腰鼓、秧歌、采莲船等穿插其间（谢玉，2014）。地故事以地面行走为载体，表演者通过夸张的肢体动作与幽默的表情，在大街小巷穿行表演，贴近生活、引人发笑，传递着民间的智慧与幽默。地台故事借助1米高的木台，注重布景的精细打造，演员在有限的空间内演绎精彩故事，布景与表演相得益彰，营造出如诗如画的舞台效果，使观众仿佛置身于历史情境之中。高彩故事依托悬空钢架，演员凌空而立，通过惊险奇幻的造型与动作，展现出超凡的技艺，激发无限的想象力。高跷故事则凭借1-5米的高跷，演员在高跷上行走、表演，以独特的视角与灵活的身姿，呈现出别样的舞台风采。
“比” 文化
“比” 文化是长乐抬阁故事会的核心运作机制。长乐抬阁故事会期间,长乐镇上市街和下市街两个团体就要进行故事会比赛。故事比拼的激烈程度直接反应故事演绎得是否精彩,上下两街比拼故事的气氛越浓,民俗味就更浓（唐健峰，2019）。两大阵营在表演前会通过踩高跷者传递战书，正式发起挑战；双方在筹备阶段还会派遣“探子”互相刺探对方的故事内容、阵容设计及创新点；故事对垒更是精彩纷呈，如《十二寡妇征西》与《十三和尚救唐》的正面交锋，双方在表演内容、技艺展示、服装道具等方面一较高下，激发彼此的创新动力与竞争活力。有意思的是，古镇长乐人年年“比”故事，比了几百年，也从来没有比出矛盾来（周海燕,2011)。因为，这种基于 “比” 的互动与协作反而强化了社区凝聚力，不同街巷、姓氏的居民因共同参与比赛、为自家队伍加油助威而更加团结，增强了对本土文化的认同感与归属感，使长乐抬阁故事会成为凝聚社区力量、传承地域文化的重要纽带。
参考文献
[1]唐健峰.非物质文化遗产视野下传统民俗文化的保护与传承——以湖南汨罗长乐抬阁故事会为例[J].四川戏剧,2019,(07):122-125.
[2]谢玉.文化生态视野下民俗体育传承与发展研究[D].湖南师范大学,2014.
[3]许婷.春节中的抬阁民俗研究[D].中国艺术研究院,2020. DOI:10.27653/d.cnki.gzysy.2020.000062.
[4]周海燕.试论长乐故事会的历史渊源及时代意义[J].文艺生活(艺术中国),2011,(10):135-138.
[5]Baidu Encyclopedia 百度百科: Changle Taige Storytelling Festival, 长乐抬阁故事会 https://baike. baidu.https://baike.baidu.com/item/%E6%8A%AC%E9%98%81%EF%BC%88%E9%95%BF%E4%B9%90%E6%8A%AC%E9%98%81%E6%95%85%E4%BA%8B%E4%BC%9A%EF%BC%89/53964408
术语和表达
长乐抬阁故事会 Changle Taige Storytelling Festival
地花鼓 Di Huagu (ground flower-drum opera)
花灯 flower lantern shows
地故事 Di Gushi (Ground Stories)
地台故事 Ditai Gushi (Platform Stories)
高彩故事 Gaocai Gushi (High Color Stories)
高跷故事 Gaoqiao Gushi (Stilt Stories)
上市街 Upper Market Street group
下市街 Lower Market Street group
问题
1.长乐抬阁故事会哪一年入选第三批国家级非物质文化遗产名录？
2.长乐抬阁故事会的起源有几种说法？分别是什么？
3.在谁的推动下，长乐抬阁故事会于1986年得以复兴？
4.高跷故事是如何表演的？
5.“比”文化有什么意义？
AI声明
本人郑重声明，本人在本次课程的期末论文撰写过程中未使用任何AI工具。