皖南皮影戏“见风挂牌”这一表演中的创编，是皖南皮影戏中独特的表演模式和技巧，本文将从表演理论、演述场域研究、口头叙事等角度对皖南皮影戏“见风挂牌”模式进行研究，以期总结提炼出皖南皮影戏在表演过程中创编的过程和其固定的创编模式，并明确“见风挂牌”这一创编模式存在的必要性及其形塑过程，这有助于我们把静态的文本研究与动态的表达行为和表演过程结合起来，皖南皮影戏“大戏”、“小戏”这两种不同表演在“见风挂牌”模式下的分类和关系是值得我们讨论和探究的，这对于我们理解口传文本的动态化有着建设性的意义，口头叙事由于其演述特性，在继口头程式理论后，对于表演中的创编研究也层出不穷，本文的关注重点即是口头叙事变化的内容中不变的创编模式及其形塑过程。

全文共设五章，首章为绪论，尾章为结论

绪论主要梳理与本研究相关的学术成果，包括皖南皮影戏的研究、表演的相关研究、动态的田野作业相关研究等等，将本研究放置于表演学术史中进行观照，简明扼要地说明了研究目的与研究方法，并讨论了“见风挂牌”研究的必要性及其学术意义。

第二章明确了“见风挂牌”的定义，对这一模式的出现进行了历史溯源，并明确了其与表演中创编的关系，从皖南皮影戏表演者自身对于“见风挂牌”的理解出发，讨论了其与即兴表演的区隔，从主体性的迁移和随机性降低两方面进行了异质性分析，对于后文详细描述“见风挂牌”模式的运作提供了理论依据。

第三章对传统的见风挂牌模式进行了摹写，将皖南皮影戏中两种不同类型的表演分成了“大戏”和“小戏”，对他们各自的表演文本的形成过程及特性以现场记录的唱词为依据进行了文本分析，将各类表演文本之间的相似性进行提炼总结。同时由于新媒体的发展及新冠疫情的影响，皖南皮影戏的表演场域发生了改变，从线下走到了线上；第三节将关注转向短视频平台上皖南皮影戏的“见风挂牌”，将媒介角度与民俗学角度相结合，把“见风挂牌”模式在新媒体时代与传统时代作对比，发现了短视频平台中表演者与观众互动仪式链的断裂问题，“见风挂牌”模式的运行被削弱甚至消失了。

第四章主要是利用巴莫曲布嫫老师的演述场域即“五个在场”理论摆正视角，通过分类表述考察了皖南皮影戏表演过程中表演事件的在场、受众的异质性、演述人的在场，以此展开对于“见风挂牌”这一模式形成的必要性的讨论，之后又对“见风挂牌”模式形塑过程中的各类影响因素进行了分析，试图将这“见风挂牌”这一创作系统的内循环过程并将语境与文本的关系进行了动态化、整体化的描述。

结论章通过上述四章的论证，总结了皖南皮影戏“见风挂牌”模式的运作过程，得出了观众与表演者在表演过程中的主体性迁移、改编随机性降低，新媒体时代不利于皖南皮影戏“见风挂牌”模式的延续和发展等结论。

This paper will study the model of "Jian Feng Gua Pai" from the perspectives of performance theory, performance field research and oral narrative. This paper will summarize and refine the process of creation and the fixed mode of creation in the process of performance, and clarify the necessity of this mode of creation and its shaping process, which will help us to combine the static text study with the dynamic expression behavior and performance process. It is worth discussing and exploring the classification and relationship between the two different kinds of performances, "big plays" and "small plays", under the mode of "Jian Feng Gua Pai", which has constructive significance for us to understand the dynamics of oral texts. Due to its narrative nature, oral narratives have been researched after the oral program theory, and the research on the creation in performance has been incessant.

The first chapter is the introduction and the last chapter is the conclusion.

The introductory chapter mainly compares the academic achievements related to this study, including the research on the shadow theater in southern Anhui, the research on performance, the research on dynamic fieldwork, etc. It places this study in the context of the academic history of performance, briefly explains the purpose of the study and the research method, and discusses the necessity of the research on "Jian Feng Gua Pai" and its It also discusses the necessity and academic significance of the study of "Jian Feng Gua Pai".

The second chapter defines the definition of "Jian Feng Gua Pai", traces the historical origin of this mode, and clarifies its relationship with the creation of performance. The heterogeneity analysis is carried out in terms of the migration of subjectivity and the reduction of randomness, which provides a theoretical basis for describing the operation of the "Jian Feng Gua Pai" model in detail later.

Chapter 3 provides a replica of the traditional "Jian Feng Gua Pai" model, dividing the two different types of performances in the shadow play of southern Anhui into "big plays" and "small plays", and analyzing the formation process and characteristics of their respective performance texts based on the sung words recorded on site. We analyzed the formation process and characteristics of their respective performance texts based on the live recorded lyrics, and summarized the similarities between the various performance texts. At the same time, due to the development of new media and the impact of the new crown epidemic, the performance field of Wan Nan shadow play has changed from offline to online; the third section turns the attention to the "Jian Feng Gua Pai" of shadow play Southern Anhui on the short video platform, combining the media perspective with the folklore perspective, and combining the "Improvizing" model in the new media era with the model of "Jian Feng Gua Pai" . "The third section turns its attention to the "Jian Feng Gua Pai" on the short video platform.

The fourth chapter mainly uses the "Five Presence" theory of Bammerchub to set the perspective and examines the presence of performance events, the heterogeneity of audiences and the presence of narrators in the performance process of shadow opera through categorical expressions, so as to start the discussion on the necessity of the model of "Jian Feng Gua Pai". "After that, we analyze the various influencing factors in the process of shaping the mode of "Jian Feng Gua Pai", and try to put the internal circulation process of this creative system of "Jian Feng Gua Pai" into perspective. The relationship between context and text is described in a dynamic and holistic manner.

Through the argumentation of the above four chapters, the conclusion chapter summarizes the operation process of the "Jian Feng Gua Pai" model of the shadow puppet theater in southern Anhui, and concludes that the migration of the subjectivity of the audience and the performers in the performance process, the reduction of the randomness of the adaptation, and the new media era are not conducive to the continuation and development of the "Seeing the Wind and Hanging the Brand" model of the shadow puppet theater in southern Anhui. The conclusion is that the new media era is not conducive to the continuation and development of the "Jian Feng Gua Pai" model in shadow play of Southern Anhui.