作为人际社会中的主体，口头传统的表演者建构和维系着社会关系，并在此过程中进行表演活动。因此，其社会关系与口头传统之间存在着不可分割的内在联系。在学界迄今有关民俗关系的讨论中，社会关系与口头传统的具体互动方式与意义、口头传统表演涉及的社会关系的面向、口头传统在表演幕后日常生活场域中的呈现与意义等方面仍存在薄弱之处，需要进一步深化。

本文以福州喜娘的“喝彩”实践为个案，主要运用民族志式田野作业的方法，探究民俗主体之间多面向的社会关系与口头传统表演的双向互动过程。在此基础上，本文着力探讨口头传统在惯常的表演场域内外对于社会关系的建构作用，分析这种互构关系对于表演者的生活及其口头传统的形成所发挥的作用，并展现女性表演者建构与维系社会关系的积极状态。此外，本文力图进一步彰显社会关系的交流属性，以对具体表演事件的分析将民俗关系具体化，从而推进学界目前的民俗关系研究。

本文首置绪论，末附结论，主体部分共分为四章。绪论部分梳理了相关学术成果，将本研究放置于民间文学关注日常生活和表演的转向中进行关照，扼要说明了本文的研究目的和方法，并界定了关键术语。第一章分析福州喜娘的传承背景，在历史发展脉络的梳理与同行表演者的对照的基础上，展现喜娘们建构社会关系的背景。第二章聚焦喜娘在技艺习得中建构师承关系的过程，具体展示了口头喝彩与身体行为的授受，以及仪式和日常生活中的师承关系表达。此外，本章还关照喜娘对于传统规范的沿袭与改变，意在反映民俗主体与民俗文化之间的关系。第三章分析喜娘以“喝彩”表演在婚礼场域中建构与联络新人家庭关系的情况，并关注喜娘的自反性表达。第四章考察了喜娘在社群互动中发展同行关系的方式，侧重阐释“喝彩”传统在其中的呈现。

本文的主要结论包括：

女性社会关系的建构和维系与其口头传统表演相辅相成，双向互动。口头传统是表演者抒发内心情感的载体，是社会关系建构与维系的桥梁和标志性文化资源，投射着民众的社会关系。在保留基本程式特征的基础上，口头传统还服务于亲疏、等级、性质各异的多重社会关系运作的需求，并从仪式等台前的表演场域延展开来，呈现出相当的可变性与包容性。而社会关系的复杂性与多重性为口头传统的再生提供了丰富的素材，新生的喝彩词往往会回流到口头传统表演中，有效地促进口头传统的新变。

    具体而言，在技艺习得阶段，喜娘的师承关系在口头喝彩与身体行为的授受中建立，被不断确证并深化；师承关系建立后，口头传统的程式在师徒唱和的配合中得以延续，其传承兼有规范化的沿袭与个性化的创新。表演事件中，喜娘的“喝彩”为婚礼场域中新人家庭关系的“分隔”与“聚合”搭建桥梁；同时，喜娘以“喝彩”将婚礼中多样的社会关系调动起来，这预示着新的喝彩词的生成。社群互动时，喜娘们以“姐妹团”的形式构建“拟亲属关系”，形成经济互惠与情感联结相交织的同行关系，而同行合作促成的非遗展演加深了口头传统的公共性。

在民俗主体的推动下，社会关系与口头传统的双向互动服务于主体的日常生活实践，二者相互映射、彼此为用，拓展了女性的生活场域。受到口头喝彩传统的影响，喜娘们的社会关系实践具有重视礼仪程序和交流文辞的特点。多用于某一场景的口头传统会适应社会关系的需求，拓展至不同的交际场合。对于表演者而言，这种互动的意义在于将口头传统融入其日常生活实践之中，并促进社会关系的营构，服务于表演者的生活实践。

在女性表演者的社会关系与口头表演的互动中，艺术性的情感表达得到凸显。本文的案例表明，社会关系是以情感为纽带的，而口头传统则是人们诗性地传递、反馈共同情感认知的载体。女性在感受和表达情感方面相对敏锐且含蓄，口头传统能够作为她们审美地表达情感、建构社会关系的桥梁，从而减少直露式的陈情，发挥艺术化地表情达意的功能。

第四，本文进一步主张借鉴表演理论以深化民俗关系研究，从表演事件切入对民俗关系的考察，再进行民俗关系的探究。表演事件能够将稍显抽象的民俗关系具体化，并凸显多重民俗关系交流互动的性质；反之，民俗关系也可以为表演事件的分析提供一个特殊的维度，彰显表演者与受众之间的交流关系。

As the main body of interpersonal society, performers of oral tradition construct and maintain social relationships, and engage in performance activities in this process. In the academic discussions on folkloric relationships and Performance Theory, there is still room for further enrichment in the specific ways and meanings of interaction between social relationships and oral tradition, the orientation of social relationships between folk subjects involved in oral traditional performance, the presentation and significance of oral tradition flowing into the performer's behind the scenes daily life, and the agency of the subject.

Therefore, this article takes the “HeCai” practice of Fuzhou XiNiang as a case study, using literature analysis and ethnographic fieldwork methods, to explore the multi-dimensional social relationships between folk subjects and the two-way interaction process of oral traditional performance. On this basis, this article aims to explore the role of oral tradition in the construction of social relationships within and outside the conventional performance field, analyze the role of this mutual construction relationship in the life of performers and the formation of oral tradition, and demonstrate the positive state of female performers in constructing and maintaining social relationships. In addition, this article aims to strengthen the communicative nature of folk relationships, and to concretize slightly abstract folk relationships through the analysis of specific performance events, thus forming a dialogue with the research interests and methods of folk relationships and Performance Theory.

This article starts with an introduction and ends with a conclusion. The main body is divided into four chapters. The introduction section summarizes the academic achievements related to this study, placing it in the context of folk literature's focus on daily life and performance, briefly explaining the research purpose and methods, and defining key terms. Chapter One analyzes the inheritance background of Fuzhou XiNiang, and based on the sorting out of historical development and comparison with peers. Chapter Two focuses on the process of XiNiang constructing and confirming the mentoring relationship in their skill acquisition, specifically showcasing the oral tradition and physical behavior of giving and receiving, as well as the expression of the teacher-student relationship in rituals and daily life. Chapter Three analyzes the situation of XiNiang’s “HeCai” performance in constructing and connecting the family relationship of the newlyweds in the wedding venue, and pays attention to XiNiang’s reflexivity expression. Chapter Four examines the ways in which XiNiang develops peer relationships in community interactions, with a focus on elucidating the hidden tradition of “HeCai”.

The main conclusions of this article include:

Firstly, the construction and maintenance of female social interpersonal relationships complement and interact with their oral traditional performances in both directions. Oral tradition is a carrier for performers to express their inner emotions, and can serve as a bridge and iconic cultural resource for the construction, maintenance, and strengthening of social relationships, projecting and weaving the social relationships of the people. On the basis of preserving the basic procedural features, oral tradition can serve the needs of multiple social relationships with different levels and properties, and extend from the performance venues in front of the stage such as rituals, presenting considerable variability and inclusiveness. The complexity and multiplicity of social relationships provide rich materials and more possibilities for the regeneration of oral tradition. New “HeCai” words often flow back into oral traditional performance, effectively promoting changes in oral tradition.

Specifically, during the stage of skill acquisition, XiNiang’s mentorship was established through verbal art and physical behavior, which was continuously confirmed and deepened; After the establishment of the teacher-student relationship, the traditional oral program was continued through the coordination of master apprentice singing, with both standardized inheritance and personalized innovation. In performance, XiNiang’s “HeCai” serve as a bridge between the separation and aggregation of family relationships in the wedding venue; At the same time, XiNiang used “HeCai” to mobilize the diverse interpersonal relationships in the wedding, which foreshadowed the generation of new words. During community interaction, XiNiang constructed pseudo kinship in the form of sisters group to form a peer relationship of economic reciprocity and emotional connection, while intangible cultural heritage performance deepened the publicity of oral tradition in the form of drama class.

Secondly, driven by the folk subject, the two-way interaction between social relations and oral tradition serves the three-dimensional daily life practice, and the two are mutually mapped and used, expanding the living field of women. Influenced by the tradition of oral tradition, the folk relationship practices of XiNiang have the characteristics of emphasizing etiquette procedures and exchanging language. The oral tradition, which is often used in a certain scenario, will adapt to the needs of social relationships, expand to different communication situations, and form intertextual relationships. For performers, the significance of this effective interaction lies in integrating oral tradition into their daily life practices, promoting the construction of interpersonal relationships, and serving the performers’ life practices.

Thirdly, in the interaction between the social relationships of female performers and traditional oral performances, artistic emotional expression is highlighted. Social relationships are linked by emotions, while oral tradition is a carrier of poetic transmission and feedback of shared emotional cognition. Women are more sensitive and reserved in terms of feeling and expressing emotions. Oral tradition can serve as a bridge for them to artistically express emotions and construct social relationships, thereby reducing direct expressions and exerting the function of artistic expression and expression.

In addition to the above conclusions, based on the analysis of performance events, this paper further puts forward the following suggestions for the current research on folk relations in the academic circles: advocate the introduction of performance theory and deepen the research method of folk relations, that is, the investigation of folk relations from the performance events, and then the exploration of folk relations. Performing events can concretize the somewhat abstract folk relations and highlight the nature of multiple folk relations and interactions, and the folk relations can provide a special analytical dimension for the analysis of performance events, highlighting the communication relationship between performers and audiences.