@article{oai:minpaku.repo.nii.ac.jp:00004196,
 author = {井口, 淳子 and Iguchi, Junko},
 issue = {2},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Nov},
 note = {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.},
 pages = {357--417},
 title = {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},
 volume = {20},
 year = {1995},
 yomi = {イグチ, ジュンコ}
}