消费语境下东北民间文艺的变异与断裂

在民间文艺普遍萎靡的背景下，东北民间文艺却在一定程度上获得了大众广泛的审美认同。但当这种认同与消费时代的商业逻辑互为缠绕的时候，不断被表述的“民间”与原初意义上的“民间”已经背离，消费文化对其文化意义形成了巨大的削蚀，在各种晚会和娱乐场所演绎的东北二人转，因为其同一性、复制性而具有了消费文化的趋同化特征。这种变异了的二人转并不是对传统民族艺术的传承，而是对其艺术精神的切割与断裂；出现在旅游景观中的萨满文化表演，一方面满足了生活在异质文化空间中的人们对东北文化的想像，另一方面又惊动了民俗的自然性与原初性，使游客只看到了民俗文化的外壳，而真正富有生命力的内核却被搁置。在消费文化语境下，东北民间文艺由于承载了太多的利益诉求而不断沦为商业消费符号。

Consumption of Northeastern Folk Literature and Art in the Context of Mutation and Fracture

Under the background of folk literature and art in general malaise, northeastern folk literature and art to some extent, won the broad aesthetic identity of the masses. But when this kind of identity and business logic, in the era of consumption, are intertwined with this, the continual expression of folk and the original meaning of“folk”has departed. Consumer culture has formed a big truncation to its cultural significance, in all kinds of party and entertainment venues of northeast Errenzhuan （二人转）, scenic sports of shaman tiaoshen performance, etc…, because of its identity and replication, has the assimilation of the consumption culture characteristics. This kind of mutation of Errenzhuan is not the traditional and national art heritage, It’s only the cutting and breaking of the artistic spirit. A tourist attraction in shaman performance, on one hand, satisfy the imagine of the northeast people in a heterogeneous cultural space of the culture. On the other hand, shock the folk custom of naturalness and originality. Visitors see only the shell of folk culture and truly rich vitality of the kernel has been laid aside. In the context of consumer culture, due to the beneficial demand interest, the northeast folk literature carries too many commercial consumption symbols.