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中国・口承長篇物語のテキストと語り : 語りもの「樂亭大鼓」にもとづいて
https://doi.org/10.15021/00004188
https://doi.org/10.15021/000041887cfb28c6-9fb8-492d-b840-214924ca9751
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KH_020_2_003.pdf (3.6 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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| 公開日 | 2010-02-16 | |||||||||||
| タイトル | ||||||||||||
| タイトル | 中国・口承長篇物語のテキストと語り : 語りもの「樂亭大鼓」にもとづいて | |||||||||||
| タイトル | ||||||||||||
| タイトル | Text and Narration of Chinese Oral Narrative : The Case of the Narrative Music Genre Laoting Dagu | |||||||||||
| 言語 | en | |||||||||||
| 言語 | ||||||||||||
| 言語 | jpn | |||||||||||
| キーワード | ||||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | 中国農村｜口承物語｜語りもの｜樂亭大鼓｜テキスト | |||||||||||
| キーワード | ||||||||||||
| 言語 | en | |||||||||||
| 主題Scheme | Other | |||||||||||
| 主題 | rural China｜oral narrative｜narrative music｜laoting dagu｜text | |||||||||||
| 資源タイプ | ||||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||
| 資源タイプ | departmental bulletin paper | |||||||||||
| ID登録 | ||||||||||||
| ID登録 | 10.15021/00004188 | |||||||||||
| ID登録タイプ | JaLC | |||||||||||
| 著者 |
井口, 淳子
× 井口, 淳子
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| 抄録 | ||||||||||||
| 内容記述タイプ | Abstract | |||||||||||
| 内容記述 | In the rural area of northern China in which orality predominates over literacy in verbal communication, traditional long stories are not read but listened to through regional opera, narrative music and other oral performances. In this paper we deal with the narrative music genre laoting dagu, found throughout Laoting and Luannan county, Hebei province in China. In the dashu (extended tale) of laoting dagu, traditional long stories are presented as alternations of song and narration. Most of the long stories, e.g. the famous "Yangjiajiang" (the warriors of the Yang family) and "Baogongan" (the Judge of Bao) have been widely diffused. Their plot and content are common, to some degree. But the text, which is orally sung and narrated, differs from region to region, genre to genre and even performer to performer. The main reason for this variability is that the stories have no written text and the performer has no need to memorize one. Nevertheless many performers can narrate the story for several weeks or even several months successively. How is this possible? Performers say that they improvise the text; they compose it at the actual moment of performance. On the other hand, Some parts of the text they narrate is a conventional one laid down by tradition. What parts are transmitted and what are composed in actual performance is the main question of this paper. Some scholars of literature consider that the dashu belongs to the guci tradition, literary works for singing and narrating published in Beijing and other cities during the late Qing and Minguo periods. Most repertories of dashu are included in the list of guci. If guci was diffused to the rural area in past, why was not guci transmitted to and memorized by performers? This is the second question of this paper. To solve the first question, three versions of the text of "Qingyunjian" (The Blue Cloud Sword) are compared and analysed. "Qingyunjian" is a popular oral narrative. An accompanist of laoting dagu arranged and wrote down the text of "Qingyunjian" for his partner, a narrator of dashu. This written text and two versions narrated in the village of Luannan in 1990 and 1993 are taken as examples. The narrator read the written text once or twice, but he did not memorize it in general. In performance, he improvised, based on the plot and content of the written text. While he was narrating, the text was composed, so the written and oral texts are very different from each other. In the process from written to oral, the only unchanged text was a set of verses describing one of the characters. Except for this, the narrator told the story in words familiar to the audience. The two oral texts are very close to one another, in spite of a three year interval and different conditions. This example of "Qingyunjian" makes it clear that once the narrator has improvised the text, it comes to be relatively fixed. By analogy with this process of transmission and composition of "Qingyunjian", the reason why the guci texts were not transmitted orally or in written form by generations of performers is clarified. For the performers in rural districts, the written text has no priority over oral tradition. In laoting dagu, it can be said that the text exists only in the performance. |
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| 書誌情報 |
国立民族学博物館研究報告 en : Bulletin of the National Museum of Ethnology 巻 20, 号 2, p. 357-417, 発行日 1995-11-10 |
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| 出版者 | ||||||||||||
| 出版者 | 国立民族学博物館 | |||||||||||
| 出版者（英） | ||||||||||||
| 出版者 | National Museum of Ethnology | |||||||||||
| ISSN | ||||||||||||
| 収録物識別子タイプ | ISSN | |||||||||||
| 収録物識別子 | 0385-180X | |||||||||||
| 書誌レコードID | ||||||||||||
| 収録物識別子タイプ | NCID | |||||||||||
| 収録物識別子 | AN00091943 | |||||||||||
| 著者版フラグ | ||||||||||||
| 出版タイプ | VoR | |||||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||||
