[Wang Weihua and Sun Jiafeng] Contemporary inheritance of performance intangible cultural heritage projects

Abstract: with the rapid development of modernization, the intangible cultural heritage of performance has been seriously impacted.

Changli shadow play, as a traditional performing art with distinct artistic characteristics and important cultural value, gradually loses its young audience in the modern context, the performance market is extremely shrinking, and there is no successor to its skills.

However, the emergence of new technological means and the new environment for cultural dissemination also bring development opportunities.

Only by keeping up with the trend of the times and combining with the power of cultural communication can we keep the lasting vitality of Changli shadow play and other traditional performing arts.

Exploring the contemporary development difficulties and opportunities of Changli shadow play can provide reference experience for the development of performance intangible cultural heritage protection projects in my country.

Keywords: Intangible cultural heritage; performing arts; cultural communication; Changli shadow play

Performance intangible cultural heritage is an important part of intangible cultural heritage.

It not only includes seven categories: traditional music, traditional dance, traditional drama, folk art, traditional sports, entertainment, art and acrobatics, but also is related to oral literature, etiquette, folk customs, folk beliefs and other intangible cultural heritage projects.

However, unlike the intangible cultural heritage of handicrafts such as traditional diet and traditional costumes that are relatively well adapted in the modern consumer market, as well as the intangible cultural heritage of rituals and festivals such as traditional folk festivals that play an important role in the construction of modern civilization, under the influence of modern media and popular culture, the traditional performance art that was once circulated among the people and was widely welcomed has been severely impacted.

It is faced with the lack of a young audience and the extremely shrinking performance market.

Difficulties in inheritance such as lack of successors in skills inheritance.

As a performance-type intangible cultural heritage project that accounts for a large proportion of my country's intangible cultural heritage, its contemporary inheritance and decline problem needs to be solved urgently.

In recent years, with the vigorous development of my country's intangible cultural heritage protection movement, there have been many research results on the protection of intangible cultural heritage, most of which are an overall discussion of the protection status, problems and methods of my country's intangible cultural heritage.

Among the works related to the inheritance and protection of intangible cultural heritage, there is a relatively lack of attention and targeted research on performance intangible cultural heritage projects and their special development conditions.

Although there are a large number of case studies on performance intangible cultural heritage projects such as dance, music, and opera, most of these case studies are introductory discussions on their historical origin, artistic characteristics, genre styles, customs and related folk culture.

There is little empirical discussion on their contemporary inheritance status and problems.

In contrast, there are not many journal papers focusing on the inheritance of performance-related intangible cultural heritage projects.

Sun Mingyue's article "Research on the Protection of National Intangible Cultural Heritage in Performing Arts-Taking Yunnan Province as an Example" takes 39 national intangible cultural heritage in performing arts in Yunnan as research objects, and proposes corresponding protection measures based on investigating their artistic characteristics and inheritance laws; Liu Jianping and Yuan Shaocheng's article "Protection and Inheritance of Hunan Regional Performance Intangible Cultural Heritage from the Perspective of Cultural Space" analyzes the existence of intangible cultural heritage such as music, dance, drama, and folk art in Hunan from the perspective of cultural space.

Current situation and development difficulties are analyzed, and inheritance and protection strategies are proposed; Liu Chunling's "Analysis of Tourism Development of Intangible Cultural Heritage of Performing Arts in Inner Mongolia" takes the case of local performance intangible cultural heritage projects as an example to analyze its industrialization strategy in the contemporary market economy.

In addition, papers such as Zheng Chunlin's "On the Museum-Protection of Intangible Cultural Heritage of Performing Arts", Wang Peixi's "Exploration of the School Inheritance of Performing Arts Intangible Cultural Heritage-Taking Hubei Local Opera, Quyi, etc.

as Examples" and Zhang Feifei's "Construction and Application of the Endangered Assessment Factor System for Performing Arts Intangible Cultural Heritage-Taking Fujian Opera as an Example" also propose corresponding protection strategies based on analyzing the inheritance status of performance-type intangible cultural heritage projects.

However, judging from previous research results, most of the inheritance and protection methods proposed by scholars for performance-type intangible cultural heritage projects under the contemporary inheritance dilemma are based on "protective" inheritance methods, and most of their strategies are based on the position of the inheritors, requiring government funding investment, technical support and legal protection.

This inheritance strategy, which relies heavily on policies, is reasonable, but it has certain "passivity" and "conservatism." In the contemporary society where science and technology and culture are constantly developing, we should re-analyze the characteristics of performance-type intangible cultural heritage from the perspective of cultural communication, stand on the standpoint of audience acceptance and possibility, and give full play to the initiative of the inheritance subject to boldly create and innovate performance-type intangible cultural heritage.

Shadow play is an important intangible cultural heritage of performance in my country.

As an ancient folk drama performing art in my country, shadow play has important cultural value.

Like other folk performing arts, it survives along with people's customs, people's livelihood, folk customs, and people's sentiments.

It also rises and falls several times with the changes in historical periods.

Today, most shadow puppets are on the verge of being lost; with the development of the intangible cultural heritage protection movement, the inheritance and development of shadow puppets have received renewed attention.

In 2011,"Changli Shadow Play" was included in the list of expanded projects for national intangible cultural heritage representative works.

While traditional performing art is facing a survival crisis, the contemporary development of Changli shadow play is facing many difficulties.

Changli shadow play artists continue to make new explorations and attempts while adhering to tradition.

The artistic characteristics and survival status of Changli shadow play

Changli shadow play is popular in Changli County, Qinhuangdao City, Hebei Province and its adjacent areas.

It is a folk drama that performs historical stories and folklore with lights and silhouettes of characters.

Changli shadow play is in the same vein as Luanzhou shadow play, Tangshan shadow play and Leting shadow play, and is a branch of shadow play in eastern Hebei.

Changli shadow play has a long history.

It originated in the Liao and Jin Dynasties, inherited and developed in the Yuan and Ming Dynasties, and was basically mature and finalized in the early Qing Dynasty.

It was first developed during the Republic of China.

After the founding of New China, it entered a prosperous period.

It began to gradually decline in the 1960s and 1970s, and then in the early 21st century, it went through a tortuous process of inheritance and development.

In the long-term inheritance and development, Changli shadow play combines folk arts and crafts with local characteristics and opera performance art to form its own unique artistic style.

As a comprehensive opera performance art, the performance of Changli shadow play includes early filmmaker production, repertoire preparation, as well as singing, musical accompaniment and shadow play manipulation during the performance process.

The most important feature that distinguishes Changli shadow play from other shadow play is its "singing", which is mainly manifested in three aspects: First, the singing and dialogue of Changli shadow play are basically the tone of "Lao Yan Hua" in the Le Ting area of Changli Luan (County).

Its pronunciation is like crying when sad, and it sounds like singing when happy.

The joys and sorrows of the characters in the shadow play are vividly expressed in this vivid singing and chanting.

Second, Changli shadow play does not have the same tune as other operas, creating its own unique singing.

In particular, the falsetto singing in which the actor holds the throat with his fingers not only makes the singing tone soft, but also broadens the range to three octaves.

Third, Changli shadow play has a complete singing system and division of labor.

During the performance, different professions match different characters and storylines with different vocals and modes, which greatly enhances the image and appeal of the movie.

In terms of accompaniment and manipulation, Changli shadow play also has its own unique features.

The accompaniment instruments for Changli shadow play mainly include sihu, dulcimer, sanxian, erhu and other silk stringed instruments, and percussion instruments such as drums, boards, cymbals, and gongs.

The cooperation of multiple musical instruments makes the performance more rhythmic and situational.

In shadow puppet performances, shadow puppet manipulation is very critical.

Changli shadow play is vivid and meticulous in the manipulation of the shadow figures.

During a performance, two people generally control the filmmakers, called online and offline, and are responsible for the preparation and control of the filmmakers respectively.

According to the needs of the plot and scene, sometimes a manipulator has to manipulate several shadow figures at the same time to perform martial arts, dress change and other performances.

This requires the manipulator to have solid basic skills and quick eyesight; sometimes in order to highlight the complex action details of the characters, two or three people will manipulate a shadow figure at the same time.

From the perspective of plastic arts, these shadow puppets themselves are rare works of art.

Based on the traditional China opera costumes, props and facial masks, it adopts the painting technique of scattered perspective to give the two-dimensional shadow puppets a sense of three-dimensional and hierarchical sense.

In addition, bold and reasonable exaggerated deformations, and exquisite carvings have a strong visual impact.

The performances of Changli shadow play are all carried out around the shadow scroll, and "shadow scroll" is the literary script of shadow play.

Changli shadow play is very rich in traditional plays.

Judging from its content, most of them are historical romances and folklore that promote positive themes such as benevolence, righteousness, courtesy, wisdom, loyalty to the monarch and the country, loyalty, filial piety, and righteousness.

Generally speaking, it takes two to three hours to finish singing a movie, while large sets of opera often take a month or two to complete.

The most prosperous period for shadow play in eastern Hebei was from the late Qing Dynasty to the 1960s.

Changli County was a place where experts in shadow play in eastern Hebei gathered.

At that time, Changli audiences 'preference for movies reached an extremely enthusiastic level.

As long as there was a village singing movies, villagers from a nearby hundred to twenty miles would rush to watch the excitement.

The performance venue was crowded with traffic and the audience was like a tide.

Whether it is during holidays or during the slack season, the common people will invite film and drama teams to perform in the village for fun.

Mr.

Zhang Xiangdong said: "In the past, people loved to watch shadow puppets most...

When the shadow opera was sung, people in neighboring villages would know-'Ah! That's a shadow!'" However, the once-popular shadow puppet show is now gradually fading out of people's lives.

Although the rapid development of modernization has brought convenience to life and diversification of performance methods, various new things have also rapidly entered people's lives, especially the popularization of modern media such as movies, television, and Internet mobile phones, which has changed people's entertainment and communication methods.

With the development of the economy, noisy cities spread to peaceful countryside, and buildings replaced fields.

In the new cultural environment and living environment, shadow play gradually lost its original audience group and the performance space associated with it.

At present,"Xiangdong Shadow Puppet Troupe" is the only surviving shadow puppet troupe with performing capabilities in Changli County.

It was established in 2001 by Zhang Xiangdong, a retired cadre of the Transportation Bureau of Changli County and a national representative inheritor of Changli Shadow Play.

The troupe currently mainly conducts publicity, performances and teaching in cultural performances, cultural exchanges and other activities at home and abroad.

The "Xiangdong Shadow Play Troupe" has gathered famous shadow play artists such as Lu Shaomin and Yang Jinbo.

However, the age of these old generation inheritors with superb skills is increasing, and the skills of the new generation of inheritors have not yet been formed.

The lack of backbone forces has caused the instability of the inheritance structure.

The development dilemma and innovative exploration of Changli shadow play

Performance intangible cultural heritage is greatly influenced by social and environmental factors.

The current commercialization is sweeping through every corner of China society during the transition period, resulting in a diverse and three-dimensional special context for the inheritance of intangible culture.

In this context, Changli shadow play is facing unprecedented inheritance difficulties and is also conducting active survival exploration.

Judging from the current development situation, the inheritance and development of Changli shadow play is not the same in five aspects: singing and chanting, repertoire writing, filmmaker production, music accompaniment and shadow play manipulation.

Among them, singing is the performance element that can most highlight the local characteristics of Changli shadow play, but it is also the most important factor that restricts its spread and inheritance.

Changli shadow play is a performing art known for its singing skills, but the singing of shadow plays based on the tone of "Lao Yan Hua" is difficult for people outside the eastern Hebei area to understand.

If the audience cannot understand the lyrics, they naturally cannot understand the performance content of the play.

In order to solve this problem, when the "Xiangdong Shadow Puppet Troupe" performs in areas outside eastern Hebei, although it still uses the traditional stage as the performance stage, it displays the libretto in the script on the screen in the form of slide slides.

This not only retains the "original flavor" of Changli shadow play performance, but also takes into account the appreciation experience of audiences from different language backgrounds.

However, the inheritance problem of Changli shadow play singing is not easy to solve.

Changli shadow play singers not only need to have a good voice with a wide range and good timbre, but also use cadence and cadence to depict characters, which is not something that ordinary people can easily master.

Mr.

Yang Jinbo said: "(Changli Shadow Play) is too weak in singing now.

Singing requires that his (learner's) throat must be naturally good…It requires a lot of hard work." Moreover, the strangeness of the dialect is not only for non-Jidong people, but even young people growing up in Jidong gradually lose the ability and interest to speak and listen to the dialect when Mandarin education is popular.

Therefore, Changli shadow play in singing the most serious degradation.

Changli shadow puppets also face difficulties in compiling and updating plays.

On the one hand, the shadow scrolls still in use today are mainly works from the late Ming Dynasty to the late Qing Dynasty.

They were copied and passed down by shadow puppets in the late Qing Dynasty, the Republic of China, and before and after liberation.

Among them, the most influential and widely circulated ones include "Double Lost Marriage","Jin Shi Yuan","Zhen Yu Tower","Wufeng Hui","Erdumei","Zhu Baochai","Qing Yun Sword" and "Biography of Three Sages".

These are all popular videos for many years.

These plays, which are born out of performing arts stories and folklore, have been widely popular in traditional society, but the lengthy plots and promotion of traditional etiquette may not be suitable for the aesthetic needs of contemporary people.

The stylized plots will also cause aesthetic fatigue for the audience.

In order to adapt to the fast-paced life of contemporary people, the "Xiangdong Shadow Play Troupe" selected the most "exciting" paragraphs in the shadow play performance.

The so-called "wonderful" paragraph means that in the short-term plot of the play, it not only contains many performance elements such as singing, reading, doing, and playing, but also has the opportunity to show lighting, set and special effects.

In 2007, in order to welcome China's "Cultural Heritage Day", the "Xiangdong Shadow Puppet Troupe" performed representative plays such as "Flame Mountain" and "Mu Guiying Recruiting a Wife" at the National Museum of China in a ten-minute performance, six performances a day.

A total of 197 performances were performed in 37 days.

Their interesting plots and unpredictable manipulation attracted many audiences, and the response was strong.

However, the way of selecting "wonderful" passages for performance is not the fundamental solution to the problem of repertoire innovation.

At present, the biggest problem in writing Changli shadow play scripts is the lack of playwrights.

Mr.

Zhang Xiangdong reluctantly admitted that the people who once wrote scripts have disappeared with the times, and it is too difficult to find new writers with a cultural foundation.

Most shadow puppets can only make minor changes to the expression of traditional plays, but they do not have the cultural level and ability to write scripts.

People of different ages have different requirements and expectations for shadow puppet performances.

In contrast, Changli shadow puppets are relatively optimistic about the inheritance and development of shadow puppet production, music accompaniment and shadow puppet manipulation.

In the past, the production of filmmakers was mainly for performances.

Today, the filmmakers of Changli shadow puppets have derived from the performance category to the craft collection category.

Craft collection filmmakers and performance filmmakers are the same in terms of modeling characteristics, except for the difference in the delicacy of workmanship.

Generally speaking, the workmanship of performance filmmakers is not as exquisite as that of collectible filmmakers, because their main purpose is for performance.

Although filmmakers made of donkey skin, cowhide, etc.

have certain resilience, too much carving will make the filmmakers fragile and fragile.

Most of the collectible filmmakers are mounted and hung, so there is no need to reduce the number of knives due to practical considerations.Depending on the grade, the price of this kind of craft collectibles ranges from a few hundred yuan to a thousand yuan.

Changli shadow puppets are exquisitely carved and distinctive local characteristics.

Especially in the context of the revival of traditional handicrafts in recent years, the formation of craft collectible shadow puppets has provided new opportunities for the development of Changli shadow puppet production.

Since the shadow puppet carving technology is similar to many traditional folk carving techniques, Changli shadow puppets 'skills such as shadow carving and external carving, coloring and oiling, human figure binding, and renovation of old shadows have also been well passed down.

In recent years, with the development of local tourism, Changli shadow puppets have been combined with cultural and creative products to use machines to create tourist souvenirs that are cheaper in price than craft collectibles.

The price is between tens of yuan and hundreds of yuan, and the sales are good.

The band of Changli shadow play has also been well passed down.

Most of the quai of Changli shadow play comes from the borrowing of folk music such as folk songs, songs and dances, operas, rap, and instrumental music.

Therefore, artists who master the skills of using musical instruments and playing tunes can not only score the shadow play, but also score other performances and operas.

This kind of "universal" skill has widespread inheritance opportunities in contemporary times.

However, in a film and drama class of about ten people, the band accounts for three or four people.

When going out to perform, the team is huge and the expenses are huge.

In its national performances in recent years, the "Xiangdong Shadow Puppet Troupe" has adopted the method of recording and soundtrack, that is, the band's accompaniment is recorded in advance and the played recordings are used to accompany the performance to replace the band's live performance.

This practice has advantages and disadvantages: on the one hand, the use of modern digital recording and transmission means can make the performance more convenient, and from the perspective of the general audience, it is not much different from live performance; on the other hand, this method destroys the integrity of the performance to a certain extent.

Different audiences have different views on this issue.

Jidong shadow play fans Tian aunt said: "or the scene accompaniment of good, there is taste." Recording (accompaniment) is also OK, but (I) feel awkward in my heart,"while Liu, a new audience member of the shadow play, said: " For me (recording accompaniment and live performance) are the same, I listen to the same, anyway, I mainly watch (shadow play movements)."

Although the manipulation performance of shadow puppets requires high skills, it is still possible for inheritors in the young area to master.

Young people with flexible fingers and quick reflexes can develop good manipulation skills as long as they master the basic essentials of character performance and practice more.

However, at present, the manipulation and performance of shadow puppets still tend to be stylized, and their technology and effects have not been well broken through and innovated.

Discussion on the development strategies of Changli shadow play from the perspective of cultural communication

Performing folk art achieves its functions and influence through cultural communication.

Communication is a process of information flow and sharing that exists universally in human society.

It is the subject of information exchange who consciously or unconsciously transmits the information contained in a certain symbol to the audience through certain channels and means, thereby realizing information Communication and sharing.

For thousands of years, the Changli shadow puppet opera, which "uses sound to touch people and uses motion to convey emotion", has always relied on skills.

Through the singing and physical performances of shadow puppet artists, the information in literary scripts can be directly appealed to people's hearing and vision, allowing the audience to obtain aesthetic enjoyment.

From the perspective of communication, the performance of Changli shadow play is a process of information transmission and cultural dissemination.

Communication is also an important mechanism to ensure that performance intangible cultural heritage is passed down from generation to generation.

Therefore, in the protection of intangible cultural heritage for the purpose of inheritance, communication should be used as a measure and means to play its key role in protecting Changli shadow play art.

However, the development of modern art and technology has changed people's aesthetic tastes and expectations for performing arts.

Therefore, in order to make Changli shadow play art better spread, we must proceed from the perspective of the audience, think about the aesthetic needs and methods of shadow play audiences in this era of fast-paced cultural and visual cultural development, and use the background of cultural communication.

and means to update its performance content, innovate its expression forms, broaden its communication paths, and create its communication fields to maintain its lasting vitality.

(1) Update performance content and innovate expression forms

If Changli shadow play is to survive for a long time, it must be brought back into people's lives so that people can accept it and appreciate it.

According to Mr.

Zhang Xiangdong, the troupe once performed in Beijing.

After several traditional plays were performed, a five-or six-year-old girl ran over and said to him with a sad face: "Grandpa, this 'cartoon' is not good." This sentence caused Mr.

Zhang to reflect on the content and form of shadow puppet shows: children are the most curious, but for them who have seen modern cartoons, shadow puppet, a traditional "cartoon", is no longer Fresh and no longer interesting.

Moreover, young children can still directly compare shadow puppet performances to TV animation, let alone young people and adults who have wider knowledge, more mature thinking, and are "accustomed to things".

Therefore, in order to make shadow play accepted and appreciated by the audience, it is necessary to make its performance content and expression form more in line with the cultural psychology of contemporary audiences.

Most of the traditional plays of Changli shadow play are once popular folklore stories, which can often resonate with the audience when performed in traditional society.

However, these stories may not necessarily arouse the interest and recognition of contemporary audiences.

The themes of shadow play should be updated in a timely manner in accordance with the times.

The disappearance of shadow play writers has made it difficult to create content.

However, shadow play script stories can be directly drawn from a variety of literary and film and television works.

Works with fantasy plots such as mythological dramas, Xianxia dramas and martial arts films are suitable for adaptation for shadow puppet performances.

In recent years, film and television works such as "The Monster Hunt","Big Fish Begonia","Return of the Great Sage","Painted Skin","Seeking the Dragon" and "Dragon Gate Flying Armor", which have been popular among audiences, can provide good materials for the compilation of shadow puppet drama scripts.

On the one hand, these works are originally adaptations of traditional China mythological stories and have certain cultural connotations and audience foundation; on the other hand, the distinctive characters, twists and turns of plots, and the mysterious and fantasy environment in these works can give full play to the advantages of shadow puppets in expressing exaggerated movements of characters and changing scenes, which cannot be achieved by other operas.

Although shadow puppet performances are difficult to match the picture effects of film and television works, such attempts can inspire better development and innovation of shadow puppet manipulation techniques that have been well-inherited.

Shadow play is an art that combines vision and hearing.

In order to cope with the new performance content, innovations must also be made in the image of the shadow person, accompaniment and soundtrack and other forms of expression.

The shadow figures in Changli Shadow Play have the characteristics of rigorous modeling structure and fine carving, but they are slightly rigid; the shadow figures in shadow plays such as "The Five Heroes of Langya Mountain" that express modern historical stories are far less refined than the shadow figures in traditional shadow plays.

In fact, the craftsmanship and shape of traditional shadow figures can be boldly innovated while retaining core skills such as carving, and redesigned shadow figures with different personality characteristics in different cultural and contemporary backgrounds, and creative attempts in clothing, hairstyles, facial features and other aspects.

It is also a good way to artistic process the original animated characters in animated film and television dramas.

Most of the Changli shadow puppets we see now are formed by drawing on and absorbing the artistic characteristics of contemporary folk paper-cuts, sculptures, murals, dramatic masks and costumes.

Therefore, the borrowing and processing of the original images of the characters is not a "plagiarism" or "trickery", but a search for the connection between tradition and modernity from the audience's cultural background and aesthetic taste.

However, it should be noted that the innovation of filmmakers must not destroy the artistic authenticity of "skin" and "shadow".

In shadow puppet performances in eastern Hebei, in order to enhance the performance effect, some troupes replaced the material used for making the shadow figures with wooden boards, and then painted them directly with fluorescent pigments.

During the performance, the shadow window of traditional shadow puppets was cancelled and the black curtain was directly used as the background.

Although this performance method can produce very vivid visual effects, its performance has neither "skin" nor "shadow", completely changing the essence of shadow play art, which is undesirable.

The soundtrack of Changli shadow play can also be innovated while maintaining its tradition.

In order to enhance the vividness and interest of the performance, pop music, Western music, etc.

can be added as background sound in the development of the plot.

In 2012, when the "Xiangdong Shadow Puppet Troupe" performed the traditional play "Flame Mountain" at the International Puppet Festival, it creatively used "Spanish Bullfighting" as the soundtrack of the plot of Sun Wukong's wisdom against the Ox Demon King.

When the music sounded, it attracted the attention of the domestic and foreign audiences.

There was cheers and applause.

It can be seen that this innovative form can be accepted and welcomed by the audience.

(2) Expand communication paths and create communication fields

Although Changli shadow play is a typical local drama, its development cannot be limited to Changli and eastern Hebei, but needs to explore broader channels of dissemination.

In recent years, the importance and support of the China government for shadow play art has provided many important opportunities for the spread of Changli shadow play at home and abroad.

The 2005 International Shadow Play Art Festival, the "Cultural Heritage Day" that began in 2006, the 2008 China-South Korea cultural exchange activities, the 2009 "Drama in Shadow-China Art Museum Collected Shadow Play Art Treasures Exhibition" activity, and the 2012 "Shadow Play Puppet Carnival" activity all provided an important communication platform for Changli shadow play.

Thanks to its outstanding performance in these activities, the "Xiangdong Shadow Puppet Troupe" has become increasingly influential, thus making Changli shadow puppet art show better development prospects.

Changli shadow puppets should also seize the opportunity to not only show their unique charm in performance and exchange activities, but also draw on the excellent experience of other performance teams to continuously improve and develop themselves.

At the same time, modern digital media technology provides a convenient way to spread traditional skills.

If shadow play art is spread in a form that the public likes and hears through television, movies, online media, mobile media and other means, its scope of influence will be greatly expanded.

With the aging of inheritors and insufficient performers, modern digital media technology can play a substitute role to a certain extent, helping to enhance the dissemination and expansion of folk culture and increase its influence.

In addition, Changli shadow puppets can also be spread through the "industrialization of cultural creativity".

Combining shadow puppet production with the local tourism industry to produce shadow figures as tourist souvenirs is a good attempt to integrate traditional shadow puppet culture into the market economy, but unfortunately an industrialized development model has not yet been formed.

Moreover, sales of tourist souvenirs will be affected by many factors such as seasons and policies.

Perhaps, in addition to being a collectibles and souvenirs, shadow puppets can also be integrated into the toy market.

Taking advantage of its technological characteristics and manipulability characteristics, semi-finished products of shadow figures are made of cardboard, plastic and other materials, and toy products of manual assembly, drawing and carving, or direct manipulation are introduced.

This will not only broaden its dissemination channels, but also subtly cultivate children's interest in it, thereby cultivating a potential new generation of shadow puppet practitioners and audiences.

In addition to being spread in the form of live performances, videos and props, Changli shadow play art can also expand its dissemination field through local folk museums.

Folk museums are a carrying space for shadow puppet art that should be effectively utilized.

They can not only preserve and display related items and information of shadow puppet performances in the form of physical and digital archives, but also provide regular audiences with regular performances, lectures and education.

Visual and auditory experience.

Shadow puppet shows have high requirements on the performance environment, because it uses light illumination and silhouette of characters to perform, and is not suitable for outdoor performances during the day.

Due to its relatively good architectural layout, the museum can provide an ideal performance venue for shadow puppets, forming a heritage base with local characteristics and a relatively fixed performance venue.

At present, Mr.

Zhang Xiangdong has applied to the Cultural Bureau of Changli County to build a museum with the theme of Changli shadow puppets.

The shadow puppet performance venue is an integral part of the museum's design.

According to the plan, the museum will display shadow puppet works, shadow puppet making techniques, shadow puppet props, shadow puppet performance process, as well as video materials and photos.

This can not only strengthen local people's understanding and recognition of shadow play, but also integrate it with local tourism to effectively convey its information to foreign tourists and enhance its influence.

conclusion

Shadow play is a folk performing art that survives and inherits from the perspective of cultural dissemination and folk inheritance.

As cultural anthropologist Lester White said: "Culture is a continuum, a process of events, transmitted vertically from one era to another, and spread horizontally from one race or region to another." The development of modernization is the fundamental reason for the difficulty in inheriting intangible cultural heritage such as shadow puppets.

However, the key to the difficulty in inheriting it lies not in the development of the times itself, but in the inability of the development of traditional art to keep up with the progress of the times.

We should realize that changes in the contemporary cultural environment, the emergence of new technological means, and the changes in the audience's aesthetic tastes have not only impacted performance intangible cultural heritage projects, but also provided more possibilities for their contemporary development.

Although modern communication means have brought folk performing art to face unprecedented challenges, it can also break the time and space limitations of its inheritance and dissemination, enhance appeal and creativity, and arouse contemporary people's attention and enthusiasm for shadow play.

The contemporary development experience and problems of Changli shadow play are of reference significance for the protection and development of performance intangible cultural heritage projects in my country.

In the past protection of intangible cultural heritage, adhering to "authenticity" and "originality" was the focus of the protection of performance-type intangible cultural heritage projects.

However, in the face of these vivid and audience-oriented performing arts, if we only adhere to tradition but not adapt, only limit ourselves to the inheritance of skills but not focus on cultural communication, it will inevitably lead to their disconnection with social development and the real life of the people.

Gradually moving away.

Therefore, in the process of inheriting and disseminating traditional performing arts, we should adhere to traditions and follow the trend.

We must not only attach importance to the "authenticity" and "originality" of traditional performing art, but also maintain its "vitality" and respect its "rheology".

For any performance intangible cultural heritage, its contemporary inheritance means "survival of the fittest".

It is impossible for traditional performing arts to be active in the lives of contemporary and future people in a completely "traditional" way.

Even today, when the intangible cultural heritage protection movement is booming, the existence, change and extinction of traditional performing arts are still determined by the social and contemporary environment.

Although salvage-style record-keeping, government funding, and legal and policy support can effectively protect traditional performing arts, this kind of performing art that only stays at the level of protection will gradually separate from the public and gradually lose its development vitality.

Therefore, in order for performance intangible cultural heritage to continue to survive and develop in the new era, we must comply with the aesthetic tastes of contemporary audiences in terms of performance content and form, rely on modern technology and media in terms of communication channels and methods, and keep up with the market economy.

pace.

For different performance-type intangible cultural heritage, we still need to invest more energy and find a more reasonable development model that is suitable for them through continuous exploration and reflection, so that they can become our cultural confidence in the new era.

An integral part of construction and always maintain vitality.

(This article was originally published in the Journal of Yunnan Normal University, Philosophical Society Edition, No.

6, 2018, and the annotations have been omitted.)