Performance and context: performativity and reflexivity in fieldwork
表演与语境：田野中的表演主体性与反身性

摘要

笔者曾于2019年前往甘肃兰州、张掖、武威、肃南、肃北、敦煌等9地，针对兰州鼓子、古浪老调、张掖宝卷、武威宝卷等十余个乐种的声音展开了为期十天的田野调查。这些本来只存在于脑海中的文字概念，由身体上的体验转变为了真实的感受。在十天里面对有着诸多不同，却又有着诸多相似的展演活动，音乐在其中已然成为一种符号，被政府、文化机构、学者、表演者、演出团体等进行着重构与利用。

Abstract

In 2019, the author conducted a ten-day field survey on the sounds of more than ten musical genres, such as “Lanzhou Guzi”, “Gulang LaoDiao”,“Zhangye BaoJuan”, and “Wuwei BaoJuan”, in nine locations including Lanzhou, Zhangye, Wuwei, Sunan, Subei and Dunhuang in Gansu Province. These textual concepts, which originally existed only in the mind, were transformed into real perceptions through embodied experience. Faced with diverse yet inherently similar performances over the ten days, music has functioned as a symbol that is reconstructed and utilized by governments, cultural institutions, scholars, performers, and performing troupes.