摘要
以前,帕里、洛德和甚至美国密苏里大学的弗里教授都认为口头表演都是一种单个人的表演,他们都没有关注到这种歌手群小舞台演唱或剧班表演的特点。本研究发现,德都蒙古长调歌的表演活动是一种以宴会舞台的群体歌手的口头表演剧。在这种"小舞台"中,群体歌手们通过自己的长调歌表演来获得自己"粉丝"的支持,学到自己喜欢的歌,从此传承了青海蒙古长调歌。这样,蒙古长调歌是群体歌手在宴会舞台中不断的表演,学习和传播过程中传承保存下来的,而非某一歌手在生活中孤立的学习、参与和表演来传承下来的。所以,应该进一步深入研究群体歌手、宴会舞台与民歌表演之间关系,修正西方的单人口头表演理论。
In the past, Milman Parry, Lord Peter and even the professor John M. Foley from the University of Missouri both believe that oral performances are a type of solo performance. They neglect to mention the fact that the features of small groups5 stage or stage performance. The study found that the Deed Mongolian long tune folk songs performance activities are based on the oral performance of a banquet stage group singer. In this types of ＂small stage,＂ the group singers gain the support of their fans by performing long tune song. In this way, those group singers learn their favorite song, and they also inherit those songs from their elders. By this means, the Mongolian long song is preserved by continual performing, learning from others and spreading culture, and such effort is contributed to the banquet stage group singers. Instead, it is not due to the single singer’s effort to memorize every single song and to inherit each one in a life of isolated learning participation and performance. Therefore, we need to do more in-depth research on the relationship between group singers, banquet stage and oral performances, so that we can modify the western theory of oral performance.
出处
《内蒙古大学艺术学院学报》
2017年第1期56-62,共7页
Journal of Art College of Inner Mongolia University
关键词
群体歌手
宴会舞台
单人口头表演
Group singer, banquet stage ,single oral performance
