{"id":12402,"date":"2019-11-21T02:20:47","date_gmt":"2019-11-21T02:20:47","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/suzhou-pingtan-su-zhou-ping-dan-2\/"},"modified":"2019-11-21T02:20:47","modified_gmt":"2019-11-21T02:20:47","slug":"suzhou-pingtan-su-zhou-ping-dan-2","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/th\/suzhou-pingtan-su-zhou-ping-dan-2\/","title":{"rendered":"Suzhou Pingtan \u82cf\u5dde\u8bc4\u5f39"},"content":{"rendered":"
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Time: 2006
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Category: Recitative, Story-telling
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Region: Jiangsu Province
\u7f16\u53f7\uff1a\u2164—1
Ref. No.: V-1
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Nominating unit[s]: Suzhou City, Jiangsu Province
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Suzhou pinghua is a folk vocal art form of recitative, performed in Wu dialects represented by Suzhou dialect without any accompaniment. It is popular in south Jiangsu Province and north Zhejiang Province covering most Wu-dialect-speaking regions in Shanghai. Generally speaking, Suzhou pinghua and Suzhou tanci are collectively known as Suzhou pingtan. Suzhou pinghua is called Dashu and Suzhou tanci is called Xiaoshu, both known as “story-telling” in the places wher they are popular.
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Suzhou pinghua came into being no later than the late Ming Dynasty and early Qing Dynasty, and it reached its peak in the Mid Qing Dynasty when a trade association — Guangyu Association – was established. During the reigns of Emperor Xianfeng and Emperor Tongzhi, there were some famous story-tellers of Heroes of the Marshes (or Shui Hu) such as Yao Shizhang.
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Suzhou pinghua has a quite profound artistic tradition. It is narrated primarily by the third pro<\/em>noun — the story-teller and larded with the first pro<\/em>noun that refers to mimic figures in the story to speak. In mimicking stories, language and behaviors of figures are called role-playing, and story-telling in the third pro<\/em>noun is called “Biao” while that in the first pro<\/em>noun is called “Bai”. Most of the Biao and Bai are prose, and part of them are verse used for reciting performance, including Fuzan (des<\/em>criptions a<\/em>bout sceneries, background, mental activities and characteristics of figures in the story), Guakou (self-introduction of the story-teller), Yinzi (brief introduction a<\/em>bout the whole story) and Yunbai (a summery of earlier plot). The performance focuses on producing comic effect by telling jokes and there is a saying “joke-telling is a treasure for story-telling”. Different language performances of actors and roles-playing resulted in diversified styles. For instance, the performance that is scrupulous with fixed language is called Fangkou; if the story-teller is changeable in different occasions with witty remarks and good at improvising according to different audience, it is called Huokou; if the story-teller speaks fast, humorously and sonorously, the performance is called Kuaikou, otherwise it is called Mankou; if the story-teller is good at narrating Biao with less role-playing, the performance is called Pingshuo. It is almost the most artistically developed of same story-telling forms.
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There are more than 50 traditio<\/em>nal works of Suzhou pinghua, including historical stories like Changkaoshu and Zhuojiashu such as The West Han Dynasty (or Xi Han), The East Han Dynasty (or Dong Han), The Romance of the Three Kingdoms Period (or San Guo), The Sui and Tang Dynasties (or Sui Tang), Jin Qiang, Biography of Yue Fei (or Yue Fei Zhuan) and The Romance of Founding of the Ming Dynasty (or Ying Lie), chivalrous stories which are all known as Duandashu, such as Heroes of the Marshes (or Shui Hu), The Seven Heroes and Five Gallants (or Qi Xia Wu Yi), Five Junior Gallants (or Xiao Wu Yi), Green Peony (or Lv Mu Dan) and Biography of Jintai (or Jin Tai Zhuan), and some other immortal, ghost and detective stories such as Apotheosis of Heroes (or Feng Shen Bang), Biography of Jigong (or Ji Gong Zhuan), Cases of Lord Peng (or Peng Gong An) and Cases of Lord Shi (or Shi Gong An).
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Most works of Suzhou pinghua are long stories that are told by excerpts successively day by day. One excerpt is narrated for a<\/em>bout one and a half hours everyday. Usually, the story-telling of one work could last for several mo<\/em>nths but some may last lo<\/em>nger for half a year or even a year. It is artistically presented in single-line chro<\/em>nological order by using the method of “tell future events first and recalling the past” to make the beginning and end to echo and setting suspense from time to time to arouse audience’s interest. After the founding of the People’s Republic of China, many new books of Suzhou pinghua were written and influential o<\/em>nes are Anti-Japanese War Stories in Regions South of the Yangtze River \uff08or Jiang Nan Hong), Railway Guerillas (or Tie Dao You Ji Dui), Tracks in the Snow Forest (or Lin Hai Xue Yuan), Steel Meets Fire (or Lie Huo Jin Gang) and Armed Working Team behind Enemy Lines (or Di Hou Wu Gong Dui). Some medium and short stories were created at that time as well.
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Recent years Suzhou pinghua has witnessed a sharp reduction in the number of audiences, a shrinking market, loss of performers, and a survival and development crisis. Hence, urgent measures are required to support and protect this art.
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Suzhou pingtan Suzhou tanci
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Nominating unit[s]: Suzhou City, Jiangsu Province
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Suzhou tanci is a kind of story-telling and singing, one of Xiaoshu folk vocal art forms, performed in Suzhou dialect. It originated and has been popular in southeast Jiangsu Province centering on Suzhou City, northern Zhejiang Province and most Wu-dialect-speaking regions in Shanghai since the late Ming Dynasty and early Qing Dynasty. Since it belo<\/em>ngs to the story-telling trade as Suzhou pinghua does and is under the same trade association as the latter, both were naturally called Suzhou pinghua by locals.
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Suzhou tanci is performed primarily in form of story-telling, larded with story-singing. The singing parts are usually accompanied by playing the Sanxian (a three-stringed plucked instrument) or Pipa (a plucked string instrument with a fretted fingerboard) while in some telling parts, an attention-catching block is used to beat a rhythm to attract the audience’s attention. Its musical tune belo<\/em>ngs to the aria of cavity plate of the tone of story-telling. In the course of inheritance, many musical styles have been developed. Hence the tone of story-telling was also known as fundamental tone. In early stage, it was performed by a single male artist playing the Sanxian, which was called Mo<\/em>nologue performance; later, it involved two narrators called Double-partner performance or three narrators called Three-partner performance.
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Suzhou tanci has a quite profound artistic tradition and its performing skills are highly developed. And it lays stress on Shuo (story-telling), Xue (joke-cracking), Tan (music-playing) and Chang (aria-sing). Shuo means story-telling; Xue also known as Fangxue refers to tell joke to amuse people; Tan means playing the Sanxian or Pipa that can be played by the narrator while singing or by others to accompany; Chang refers to story-singing. Ways for story-telling are diversified, such as, narrating, speaking for others, explaining and arguing. Many narrating methods and skills such as Guanbai, Sibai, Gubai, Biaobai, Chenbai and Tuobai have been developed from story-telling performances of artists for a long time, not o<\/em>nly to present figures’ thoughts, interior mo<\/em>nologue and co<\/em>nversations with each other, but also to narrate, explain and comment in the tone of the narrator. The artists also used the Kebai technique of Kunqu opera and Beijing opera for reference to present characters through telling stories and co<\/em>nvey ideas and feelings or create characters by using the changes of their voices, gestures and facial ex<\/em>pressions. From the perspective of aesthetic appreciation, Suzhou tanci pursues for Li, Wei, Qu, Xi and Ji, which means separately being logical, meaningful, interesting, classical and skillful.”
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Most works of Suzhou tanci are long stories, typically represented by Three Charming Smiles (or San Xiao), Legend of Wo Pao (or Wo Pao Zhuan), Hairpin with A Golden-phoenix (or Miao Jin Feng), Legend of the White Snake (or Bai She Zhuan), Jade Drago<\/em>nfly (or Yu Qing Ting), The Peal Tower (or Zhen Zhu Ta), etc. Famous artists in early stages included Wang Zhoushi, Chen Yuqian, Mao Changpei, Yu Xiushan, Lu Ruiting, Yao Yuzhang, Ma Rufei, Zhao Xiangzhou and Wang Shiquan. During the late Qing Dynasty and early Republic of China, there were a bunch of actresses. Since the 1930s, as the development of broadcasting programs, Suzhou tanci had reached its peak with various works and different styles. For instance, in terms of the musical styles, there were more than ten to<\/em>nes such as Shen (Jian’an)Tone, Xue (Xiaoqing) Tone, Wei (Yuqing) Tone, Xia (Hesheng) Tone, Zhou (Yuquan) Tone, Xu (Yunzhi) Tone and Jiang (Yuequan) Tone.
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Since the founding of the People’s Republic of China, great progress has been made in Suzhou tanci as a result of reformation and innovation by artists initiatively. New works were unceasingly created, including long stories such as The White-Haired Girl (or Bai Mao Nv), New Story of Heroic Sons and Daughters (or Xin Er Nv Ying Xiong Zhuan), Biography of Li Zicheng (or Li Chuang Wang), The Song of Youth (or Qing Chun Zhi Ge), Bitter Cauliflower (or Ku Cai Hua), The Red Rock (or Hong Yan), Wild Fire Fighting the Ancient city of Spring (or Ye Huo Chun Feng Dou Gu Cheng), The Red Seed (or Hong Se De Zhong Zi), Anti-Japanese War Stories in Regions South of the Yangtze River (or Jiang Nan Hong), Stories in Xiaochen Village (or Duo Yin) and Biography of Li Shuangshuang (or Li Shuang Shuang), and medium stories and excerpts for independent performances such as The Old Local Co<\/em>nstable (or Lao Di Bao), Fighting for the Son in the Hall (or Ting Tang Duo Zi), Praying for Rain (or Xuan Du Qiu Yu), Reaso<\/em>ning in Flower Hall (or Hua Ting Ping Li), Collision of Boat for Delivering Food on Purpose (or Nu Peng Liang Chuan), Seeing Mother in the Buddhist Co<\/em>nvent (or An Tang Ren Mu), Have to Fix Huaihe River (or Yi Ding Yao Ba Huai He Xiu Hao), Hero on the Sea (or Hai Shang Ying Xiong), Green Reed (or Lu Wei Qing Qing), New Song of Pipa (or Xin Pi Pa Xing), The Injustice Case of a Doctor (or Bai Yi Xue Yuan) and Big-feet Queen (or Da Jiao Huang Hou).
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However, since the late 20th century, Suzhou tanci has been co<\/em>nfronted with a sharp dro in the number of audiences, a shrinking market, loss of artists, and a survival and development crisis. Hence, urgent measures are required to support and protect this art.
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Inheritor(s):
\u90a2\u664f\u829d \u91d1\u4e3d\u751f \u738b\u6708\u9999 \u91d1\u58f0\u4f2f \u4f59\u7ea2\u4ed9 \u5f20\u56fd\u826f \u9648\u5e0c\u5b89 \u6768\u4e43\u73cd
Xing Yanzhi, Jin Lisheng, Wang Yuexiang, Jin Shengbo, Yu Hongxian, Zhang Guoliang, Chen Xi’an, and Yang Naizhen.
 
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