| Haicheng Stilt Yangko, with a long history, was formed in Haicheng then spread and popularized all over the southern part of Liaoning province. In the late Qing dynasty, the Trumpet Drama of Haicheng region entered the Yangko troupe, though the professional and semi-professional folk artists' endeavors, the "four beams and four pillars" on stilt was formed, and finally a new kind of folk art appeared--Haicheng Stilt Yangko, which was a combination of song, dance, drama and acrobatics. In traditional society, Haicheng Stilt Yangko was performed in a folk and touring way, during festivals or ceremonies, the folk artists would join together voluntarily as a team performing in streets or at temple fairs. As a result, the Stilt Yangko could not only meet people's needs for spirit and entertainment, but also be a way that folk artists making their living.Since 1949, the foundation of "New China", following the widespread and top-down reformation that related to "socialism and modernization", the performance of Haicheng Stilt Yangko gradually changed to be the official speaker catering to governmental needs, and took the celebrations, greetings and the organized performances as the main purpose and motivation. After the reform and opening, adjusting to the national modernization, modern Haicheng Stilt Yangko has quietlyformed a kind of commercial, stage-oriented performance way, so it has changed its traditional and natural lifestyle, taken out from folk people's living and stepped on the great stage.This article aims to make description and contrast. Basing on the description of every part of the traditional Haicheng Stilt Yangko, combining with the 20th century's Chinese society changing history, especially the series of governmental policies involving the folk art and its actual influences after 1949, then make conclusions and reflections about the producing and changing process of modern Haicheng Stilt Yangko and its gain and lose.Chapter 1 concerns about the regional, cultural space and environment where Haicheng Stilt Yangko was formed and developed. Combining the regional history with the emotion identification and memorial characteristics of folk people's dictation, this chapter makes efforts to present the long history of the ancient Haicheng, the commercial prosperity brought by the sea conveyance, and the mass emigration in Ming and Qing dynasty. Then contrasting Haicheng's traditional society with today's fierce economical development after the reform and opening, to find out the regional culture's influence on people's personality, thus making deeper sight into the social context of Haicheng Stilt Yangko.Chapter 2 gives a basic description on traditional Haicheng StiltYangko in the order of time--from the late Qing dynasty to the Republic of China, and in the base of events-- Trumpet Drama's arising and entering the Yangko troupe, Haicheng Stilt Yangko's final formation and flourishing, etc. Finally, focus on the folk artists' characteristics, touring way and occupational process.Chapter 3, Basing on the New China's timetable from the year of 1949 to present, the publishing and actual effects of the policies that concerning the reformation of folk art, this Chapter focus on the reformation process of Haicheng Stilt Yangko, and gives a description on the current Haicheng Stilt Yangko's performance and groups.The conclusion, firstly, makes reflection about Haicheng Stilt Yangko's losses of its traditional, folk and local characteristics, which occurred with the Haicheng Stilt Yangko's transformation from tradition to modern. Secondly, makes an evaluation between the standpoints of the elites and the common people in Haicheng. Finally, puts forward suggestions for Haicheng Stilt Yangko's inheritance and development. As the folk art that accompanying the local people for a long history, and as one of the first batch of national non-material cultural inheritance, the future way of Haicheng Stilt Yangko needs the society's attention, valuation and efforts in the same and clear direction. |
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