The Research On Suzhou Pingtan And Rurban Life In South Of The Yangtze River

Suzhou Pingtan,including Pinghua and Tanci,commonly known as big shu and small shu,which was conceived in Jiangnan unique natural and cultural environment.In the Southern Song Dynasty,the folk storytelling was gradually sprouting and forming,playing in the urban and rural society of Jiangnan.During the Ming and qing dynasties,industrial and commercial was prosperity in Jiangnan rurban,thus,active commodity economy,changing cultural atmosphere and blooming entertainment demand in Jiangnan rurban provided a favorable conditions for the Suzhou Pingtan's development.From the late Qing Dynasty,Suzhou Pingtan performing arts is beginning to mature.The order of the performance also began to be stable.Until the late qing dynasty,Suzhou Pingtan performing arts was approaching maturity,jiangnan performance order gradually stabilised,urban and rural areas to stagnation at the beginning of a Ma,yao,zhao,wang and other masters storyteller,and among them,the representatives of the Ma Rufei pingtan artists,play to the rural wharf has become the normalized.In the early qing dynasty,the Konzu agency was restored after the The Taiping Heavenly Kingdom.As a professional organization of Pingtan,it rectify the Pingtan the industry and regulate the order of performance.Early of the republic of China,especially before the 20 s and 30 s of the twentieth century,Suzhou pingtan performance had presented a picture of prosperity.a lot of artists flourished in the rurban story house.Pingtan had predominated amateur leisure life of ordinary people in Jiangnan region.Listen to the book had became a part of daily life in Jiangnan rurban.during late period of the republic of China,Kuomintang government had decline.Local social of Jiangnan region was instability,with Suzhou Pingtan performance difficult to maintain.From the clue of modern evolution,we could find that Pingtan throughout was a important portion of Villager's daily life in South of the Yangtze River.Teahouse in Jiangnan region which is also known as story houses,is the main place for the artist to perform.There are three types of story houses which is divided into profession story houses,mixed story houses and interim story houses.The The villagers in South of the Yangtze River regard teahouse as the space of acquiring information,entertaining body and mind and engaging in civil politics.,A series of factors,such as stable guests and economical and affordable consumption,combine market and Teahouse.therefore,teahouse not only provided the materialized space for Pingtan performance,also has formed the social ecology which is advocating literature,art and proficient in temperament.Observation from spatial pattern,Different levels ofstory houses formed a a network,Including some of the flourishing Pingtan performances so called “Old wharf”.this reflects the degree of cultural development of the rurban in the south of the Yangtze River.A large number of Pingtan wharf is linked up by the densely covered river sand convenient ship traffic.Different types story house transmit the social and cultural information between urban and rural areas.In the story house operation,the owner which is known as “Chang dong”,take care of the daily business in all respects.First,Chang dong went to Suzhou,Shanghai and other places to hire the storytellers.and then,he should deal with all aspects of human relations to create a stable operating environment.second,he also need to train waiter's for improving the quality of service story house.The relationship between Chang dong and Pingtan artists is complex.Its show as cooperation and confrontation,etc.These are the vivid expressions of urban and rural communication in rurban society of the south of the Yangtze River.On the other hand,the facilities and spatial arrangement by Chang Dong,reflects certain social value and symbolic significance,.especially the "Top table","Free audience " in the story houses.The operation of the Chang Dong creates a lot space for a variety of social role communication,and produce the diversified ways of urban and rural communication in Jiangnan region.The artist is the subject and core elements of township Pingtan performing arts.In the Pingtan wharf,There are different types of artists,both including the famous and the novice,in addition,also more long-term resident artists who is so called the “Stout artist” and “Wharf tiger”.When they are performing,they apply the local knowledge,community life element to the Pingtan performance system?In this way,they stipulates the local value orientation of the Quyi.In the storytelling,artists are also involved in life while improving art.The artists set up a gentleman's image in the township of the south of the Yangtze River through the image of the stage and the behavior in the life.In the internal and external of story houses,The artists,the audience and the local forces interact and compete around the art appreciation and the order of the performance.simultaneously,the artists also help and compete with each other.These phenomena among the various social roles in the ruban society show the vivid characteristics of urban and rural relations of the south of the Yangtze River.Finally,as the daily entertainment of Jiangnan people,it also plays an important social function while entertaining the villagers.The Pingtan performance time is consistent with Jiangnan farming rhythm,and it affects the slow style of life in the south of the Yangtze River.Furthermore,listen to storytelling strengthened Jiangnan social ties to some extent.The intercourse between the artist and the audience generate audience community centred by interest of listening to storytelling.What's more,Pingtan not only Shape the Life style,but also edify Life interest of rural people in the south of the Yangtze River.Pingtan spread the concept of loyalty,filial piety,and the idea of righteousness by Storytelling.it also Communicate two ideological realm between Great tradition and the Little Tradition.Based on this tradition,part of the intellectual elite of the Republic of China tried to shorten the distance between civilized cities and traditional villages.In other words,The modern improvement of Pingtan in Jiangnan rurban reflects the such efforts.The significant focuses of this articleon is neither the literary and artistic characteristics of folk art,nor the pure declare the modern evolution of Suzhou pingtan.We will put Pingtan in the clue of social development,to confirm the historical position and social function of this folk art form.Through the practice of Suzhou Pingtan in the jiangnan rurban society,it can reveal the relationship wbetween the daily life of Jiangnan region with storytelling.,We can investigate its historical role in the communication of urban and rural life in Jiangnan by the flow between urban and rural areas in the southern of Suzhou Pingtan.Only in this way can we embody the overall vision of social history.