MainAbstracts

OntheMaster-apprenticeRelationshipsoftheChuntaiTheatreTroupe:EvidencefromTangziEstablishments

ZHAOShanlin1

After the arrival of Huiban in Beijing, the numeroustangziestablishments there not only provided entertainment services for the purpose of profit making, but also took on a more positive role of passing on drama performance skills. The skills were passed on from generation to generation, establishing a tradition of drama performance. This paper will systematically examine threetangziestablishments that were closely related to the Chuntai theatre troupe, thereby clarifying the master-apprentice relationships of the Chuntai theatre troupe. The threetangziestablishments that will be examined are: 1)Yuqingtang and its branches Huaiqingtang, Jingqingtang, and Chunqingtang. Yuqingtang had the longest history with Chuntai theatre troupe and had nurtured many outstanding actors; 2) Guangyutang and its branches Chunquantang and Lichuntang. Guangyutang is the most reputable in the theatre world and had famous actors for three generations; 3) Rixintang and its branches Jingchuntang (There are many others, but they will not be discussed here due to space constraints). Rixintang had an expert drama song teacher Yin Caizhi who once managed Chuntai theatre troupe.

AStudyabouttheDoubleRedHallCollectedSichuanLibretto“Huaxianjian”inlateQingDynastyandaHandwrittenCopyintheRepublicofChinaCollectedbyChongqingBeibeiLibrary

DINGShumei10

“Huaxianjian” is one of the traditional dramas of Sichuan opera, and it is widely circulated as one copy of “Jianghu18copy”. There are three different kinds of “Huaxianjian” in the 64 volumes Sichuan Changben (Libretto) in late Qing dynasty collected inShuanghongHall of the university of Tokyo. Recently, a copy for Rankaixian adaptation in the Republic of China was found in Beibei Library of Chongqing. By studying the copies differences, story intercepts, the plots of “peek” and date with the beautiful fairy, and the paragraphs of joking and fighting, we can find interrupts in romantic fairs and conversion to joking presents in the disposes of storyline and main character selection, setting of acts and plots, dialogue and scenes, and these are the special aspects of all these copies. The case study of a typical Sichuan opera may provide further exploration into the fusion of narrative and dramatic factors in early Sichuan opera, and may also support the studies on the impacts of the interaction of compilation and the audience on the society.

StandardizationintheFieldofSafeguardingIntangibleCulturalHeritageandEstablishmentofaSeriesofRegulations

WANGXiaobing,HUYufu48

The Standardization in the field of safeguarding Intangible Cultural Heritage (ICH) through establishing of a series of regulations is based on the demand of current safeguarding practices. It aims at improving and harmonizing the coordination and communication between different parties involved, and thus promote a better system for safeguarding ICH, without discouraging the creativity of inheritors. The regulations should include three levels: 1) regulations on government work in the field of safeguarding ICH, 2) classified regulations on safeguarding varied category of ICH, 3) specific regulations on safeguarding certain ICH items. These regulations should be developed by way of communication between government, scholars, representatives of ICH items, and other parties involved on a level of sufficient dialog with mutual respect and understanding. The theory of communicative rationality proposed by the German philospher Jürgen Habermas could serve as theoretical framework for such consultations.

TheDeconstructionandReconstructionoftheConceptofInheritance

WrittenbyKATOHideo,TranslatedbyNISHIMURAMashiyou63

Since the “folk inheritance” was defined as the research object by Yanagita Kunio, the Japanese folklore formed two different positions surrounding the concept of “inheritance”. One is “to study heritance from the fields” or “to think the field from inheritance”. They consider that the folklore should make efforts to grasp the real appearance of inheritance in order to carry out unique investigations and researches. The other one is the criticism of the concept of inheritance. They claim that the folklore should not continue to confine in the standard of “identity/continuity” and just study the subjects with the characteristics of “inheritance”, or the folklore may not be able to adapt to modern society in the future. The concept of “inheritance” has been “frozen” with the influence of the grass-roots culture theory and the theory of nationality, but it may probably be “defrosted” by the theory of inheritance of behavior theory. It is necessary for folklore to grasp the actual situation of “inheritance in the life-world”, return to the fields and life-world, and reconstruct the concept of inheritance.

Self-Narrative:AStudyontheReflexivityofFolklore

WrittenbyKADOTATakehisa,TranslatedbyNAKAMURATakashi,CHENGLiang74

The Japanese folklorists used to pay more attention to collecting local knowledge of villages. Them believed that the ideal village inheritors need to be “silent and discreet”, instead of emphasizing individual opinions. The author of this paper considers that this understanding lacks the imagination of the other’s lives. Therefore, it is necessary to turn the research direction of folklore to the daily life of ordinary people. Furthermore, we must realize that the self-narrative of interviewees is the most important research material in this process. The narrative of life experience is not only a list of facts, but also a construction of facts by narrating as well as giving meanings to events. The past folklore studies did not attach importance to the subjective experience of individual, but focus on the formation of “folk custom”, which may ignore the diversity of individual experience. In daily life, “self” is produced by self-narrative of people, while self-narrative is also a spontaneous behavior which is generally endorsed by people in modern society. We need to find out the whole life experiences of the interviewees, including their subjective explanation. The study of the oral custom of folklore should no longer confine to the field of folk literature, but start to enter the empirical field of narrative in daily life.