Three years ago, Zhang Mantang, a farmer in Majie Village, established the Majie Book Friends Association Research Association to provide artists with a place to eat, drink and stay. This year, more than 100 folk artists from his family slept on the floor of a spool room at night. It's snowing lightly outside and it's very cold. They huddled with each other to keep warm and talk, and they were very close. Some people are over 70 years old. They braved the snowstorm and came from hundreds of miles away, wearing thin clothes, carrying snowflakes, beating gongs and drums, playing simple boards and singing happily. An old artist said happily that painting is a kind of enjoyment.
We should pay attention to this group of folk artists. Folk artists often have greater influence than government art groups in spreading traditional culture. Their props are simple, in groups of three and five. One of them rides a horse, village by village, streets, bazaars, stations and docks, and their performance venues are everywhere. When the drum is sounded, the black boy pulls it up, the simple board is played, and they sing in an eclectic way. The time can be long or short, the venue can be large or small, and it is very flexible, forming a unique rural cultural form. For thousands of years, folk artists have lived and performed like this. The ancients said: telling stories and singing operas is to persuade people. From the mouths of these artists, people learned about unofficial history, etiquette and filial piety, secular religion, lifestyle and other anecdotes, which were passed down from generation to generation.
The performances of folk artists are mostly traditional singing, old-fashioned and full of dross. Moreover, the performance form is single, the musical instruments have not changed for many years, the modern music atmosphere is lacking, the singing dialect is serious, there are many rural dialects, young people don't like them, and the audience is decreasing day by day. In addition, folk artists, without proper organizational support and local Quyi artists' associations, lack management functions and can not play a good guiding role. Although there are mentors and apprentices, various sects are also scattered from time to time, which is difficult to restrain. Moreover, the old artists are not well educated and have little creative ability, so it is difficult to absorb new cultures and ideas. The performance content is multi-task, teaching and learning from each other. The local government should pay attention to folk artists and give them some attention. Help them in art, organize literary and artistic creation, arrange programs that reflect real life, carry out extensive cultural and artistic exchanges, absorb the nutrition of other art forms, speed up the rhythm and enrich their singing methods; Care for them in life, make them have a living guarantee, create a learning environment for them, improve their artistic taste, guide them to take a healthy rap road, spread excellent traditional culture and serve modern society. Traditional culture can't serve the real society well and has no vitality.
In recent years, the traditional Chinese opera and Quyi groups founded by the government are also facing many difficulties that are difficult to solve by themselves. In order to survive in the market competition, most troupes have implemented enterprise management. Although local finance provides some subsidies, due to the sluggish performance market, poor performance, low income of cast members, unstable team and serious brain drain. Shangqiu Henan Opera Second Troupe, Siping Tune Troupe, Suzhou Pendant Troupe, Sizhou Opera Troupe, Bangzi Troupe, Xuzhou Bangzi Troupe, etc. As a national intangible cultural heritage project, the salaries of performers and workers are only about 2000 yuan. In recent years, the local government has arranged some tasks of "sending operas to the countryside" for them every year, giving them some financial subsidies, otherwise it will be more difficult. Actors and actresses are more disgusted. They think that such income is not as high as the salary of a waiter, so it is difficult to support the family, and the pressure to survive by performing arts is enormous. Some actors, about 50 years old, are in the golden age of singing opera with apprentices. They left the team early for policy reasons. It's a pity that they can persist in facing the pressure of life. Li, a national first-class actor and director of Suzhou Hangzi Troupe, earns 2800 yuan a month. He told reporters in dismay that after playing all his life, even his children could not afford to go to school, not because of his love for art, and he could not persist today. Many folk artists have no place to live. Zhou, an old artist in Xiaoxian County, and his wife are both 80 years old. They make a living by reclaiming land, and even have a minimum living guarantee. Cultural departments at all levels should investigate thoroughly, organize social forces, and carry out cultural poverty alleviation for some folk artists with practical difficulties.
Some troupes are in poor condition. Shangqiu Siping Opera Troupe, with more than 20 people, only has an office of 10 square meters and two very simple rehearsal fields. Actors don't even have a place to rest, and the curtain, clothing, musical instruments and other equipment are aging, which can't guarantee the performance quality. Zhecheng county rap group is the only county-level rap group in eastern Henan. It undertakes the task of performing in the countryside arranged by many county governments every year, and there is no office rehearsal place all the year round. The signboard of the rap group should be hung at the door of Zhu Jia, the head of the group, and the rehearsal field is also in a living room of her home. Suzhou Sizhou Troupe and Bangzi Troupe don't have their own offices and rehearsal venues, so they rent temporary venues to rehearse. Although the Pendant Troupe has its own venue, the rehearsal hall is a dilapidated building with less than 200 square meters. Actors study and rehearse in dangerous buildings all the year round, which makes them uneasy. Many key cast members left the stage prematurely, resulting in a talent gap. Most parents are reluctant to send their children to the theater to study drama, resulting in a sharp decline in performers and no successors. Shangqiu Siping Troupe, originally composed of more than 70 people, now has only more than 20 actors, which is incomplete. An actor has to play several roles in a play, and there are no creative staff in editing, directing and art designing, so the performance quality cannot be guaranteed. The inheritance of folk quyi is even more worrying. Folk rap has no successor. Yongcheng city's "Dahuan" drama is a provincial intangible heritage project, and Dahuan is a rare drama. Wang Yuxi, the fifth-generation inheritor, worries about the inheritor all day, relying on his own income, and promises to control food, with a monthly subsidy of 1000 yuan, but he still can't recruit an apprentice. Wang Yuxi said bitterly: There is no sixth-generation Daxian Opera.
The lack of professionals engaged in the protection of non-legacy operas makes it difficult to deepen the protection of non-legacy operas and achieve professional and refined protection. Judging from the local conditions, the protection work varies widely. In some places, although there is rough record protection and no system guarantee, it is necessary to establish and improve the archives of endangered projects and high-risk inheritors and improve the intangible cultural heritage database for national and provincial intangible cultural heritage projects with endangered survival status. If you don't start to grasp it, it will be difficult to sort out the data in a few years. At present, the protection of intangible cultural heritage projects is not professional enough, and there is a lack of specialized managers. Although there are institutions in some places, most of them are affiliated to cultural centers and other units. Managers lack professional knowledge, so it is difficult to deepen the protection of intangible cultural heritage, and the level of protection can not meet the needs of intangible cultural heritage protection under the new situation.
The traditional culture of the Central Plains is the core component of Chinese civilization. Intangible cultural heritage, as the carrier of traditional culture, is of great significance to carry forward China's traditional culture and enrich people's spiritual and cultural life. The government should strengthen the protection and inheritance of non-legacy projects, strengthen the research work on traditional culture, and innovate working ideas, so that the excellent traditional culture of China can be inherited and developed.
It is urgent to reform and improve the protection and inheritance mechanism of intangible cultural heritage. Local governments should actively establish a new system and mechanism, incorporate the protection of intangible cultural heritage projects into basic public cultural services, find out the base and provide classified guidance. They should not only increase the project funds for protection work, but also appropriately increase the income of entertainers, so as to reassure those who stay and let those who come later catch up. Only in this way can the protection and inheritance of intangible cultural heritage projects be succeeded by others. Governments at all levels should pay more attention to the protection and inheritance of intangible cultural heritage and increase investment. All folk performing groups and artists included in the protection project should be given certain financial support, so that their lives can be guaranteed and their inheritance can be confident. Accelerate the construction of infrastructure such as "one group, one school" and create a better working environment for the protection and inheritance of intangible cultural heritage projects. At present, the state spends a lot of money on the protection of intangible cultural heritage projects every year. Many management departments for the protection and inheritance of intangible cultural heritage projects only actively ask for funds for the reported projects, ignoring or extensively managing the use of funds, and the protection funds have not really played an effective role, and even fraud has occurred. The government should increase the personnel training for intangible cultural heritage work, establish a management team with both professional knowledge and responsibility, and strengthen the supervision and management of the use of intangible cultural heritage protection funds. Strengthen training and support, improve the training and guarantee mechanism of opera talents, and change the dilemma of no successor. Insiders suggest that the talent training system combining school education with art groups should be improved. Han Mei, director of Xuzhou Performing Arts Group, said that the non-legacy opera project should start with dolls and carry out the "drama into campus" activity, so that children can be influenced by traditional culture from an early age, cultivate interest and find good talents to focus on. Lu, head of Suzhou Bangzi Troupe, suggested that the tuition-free policy for drama performance majors in secondary vocational schools should be implemented so that students can have a guaranteed learning environment. He said that in recent years, fewer and fewer children want to engage in opera performances, and the selection of young people has also developed from "one in a thousand" to "tutoring opera". When traditional performance majors such as traditional operas are offered in relevant institutions, they should all be included in the tuition-free scope and subsidized by public finance. The protection and inheritance of intangible cultural heritage should take the road of innovation.
The National Intangible Cultural Heritage Troupe can't just stay in the performance of traditional plays, but should make full use of the funds of intangible cultural heritage projects, pay attention to the present, be close to life, make more plays and perform well, vigorously carry forward the main theme and publicize the truth, goodness and beauty; At the same time, we should increase the innovation of performance forms of intangible cultural heritage, absorb modern social elements, show them in a form closer to the audience, consolidate old audiences, cultivate new audiences, make full use of radio and television and new Internet media, and increase the publicity and promotion of traditional intangible cultural heritage, so that intangible cultural heritage can be passed down in protection and developed in inheritance.
The traditional opera culture of the Central Plains is the sea of Wang Yang, which is not only rich in content and diverse in forms, but also has many employees and tens of thousands of tracks. It is necessary to strengthen investigation and study, carefully sort out the existing forms and development prospects of various dramas, modify various traditional scripts and give them fresh content to meet the needs of real social development.