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文艺理论研究

文艺理论研究 ›› 2022, Vol. 42 ›› Issue (6): 153-164.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

“说书场交流语境”与宋元话本的文本形式

陈建森；陈颖姮   

  1. 华南师范大学文学院
  • 出版日期:2022-11-25 发布日期:2023-01-03
  • 作者简介:陈建森，文学博士，华南师范大学文学院、广州南方学院达人书院教授，主要从事唐宋文学和中国戏曲史研究。陈颖姮，华南师范大学文学院中国古代文学专业在读博士生，主要从事中国古代说唱文学与小说研究。

The Context of Communication in the Storytelling Field and the Textual Form of Storytelling Scripts of the Song and the Yuan Dynasties

Chen Yingheng   

  1. School of Chinese Language and Literature, South China Normal University
  • Online:2022-11-25 Published:2023-01-03
  • About author:Chen Jiansen, Ph.D., is a professor in the School of Chinese Language and Literature, South China Normal University, and Daren Academy, Guangzhou Nanfang College. His research focuses on literature of the Tang and the Song dynasties and history of traditional Chinese theatre. Chen Yingheng is a Ph.D. candidate in the School of Chinese Language and Literature, South China Normal University. Her research focuses on ancient Chinese singing and recitation literature and fiction.

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摘要： 本文将宋元话本“还原”于说书场交流语境进行语义和功能的研析，发现宋元说书人可以根据说书场主体交流互动的需要，巧妙地化身为主持人、故事讲述者、故事中人物、评论者、听众代言人等五重主要演述身份，执行调控说书进程、述故事、演人物、引导听众的价值取向、审美反馈等职能。说书人转换不同的演述身份，“出入故事内外”与场上主体进行审美交流互动，形成了主持人与听众、故事讲述者与听众、故事中人物与人物、故事中人物与听众、讲述者与故事中人物、评论者与听众、听众代言人与讲述者等七种主要的“说书场交流语境”及其文本。说书人演述身份的转换既指书场交流语境的转换，亦指说书场演述时空的转换，由此形成了具有中国特色的宋元话本演述形态。宋元话本独特的演述形态又促使说书人巧妙地融通前代各种文体形式演述故事，从而构成由篇首、入话、头回、正话和篇尾等组成的宋元话本文体形态。

关键词: 说书场交流语境； , 说书人； , 演述形态； , 文本形式

Abstract:  By analyzing the semantics and functions of the storytelling scripts (huaben) of the Song and the Yuan dynasties within the context of communication in the storytelling field, this essay finds out that the storyteller could skillfully assume five performative and narrative identities, namely, the host, the narrator, the character, the commentator and the spokesman of the audience, so as to control the progression, tell the story, enact the character, influence audiences' value orientations and aesthetic feedback. The storyteller switched between different performative and narrative identities by going in and out of the story, communicating and interacting with the main subjects of the storytelling field, hence establishing seven major “communication contexts” and their texts, between “the host and the audience”, “the narrator and the audience”, “characters in the story”, “characters and audiences”, “characters and the narrator”, “the commentator and the audience” and “the spokesperson of the audience and the narrator”. The unique performative and narrative form of the storytelling scripts also encouraged storytellers to skillfully integrate the various styles of the previous generations of storytelling, thus constructing the stylistic form of the storytelling scripts of the Song and the Yuan dynasties, which was composed of “pianshou”, “ruhua”, “touhui”, “zhenghua” and “pianwei”.

Key words: context of communication in the storytelling field; , the storyteller; , performative and narrative form; , textual form