温州鼓词是流行于浙南地区乃至华东地区的曲艺种类。随着大众传媒技术的深入，温州鼓词在20世纪经历了从词场鼓词到鼓词VCD的发展过程。在梳理其发展脉络的基础上，本文全面呈现了鼓词VCD的制作过程，并对鼓词VCD这一新传统的表演特征进行分析，探讨在现代媒介技术之下口头传统如何被媒介重新定义这一问题。文章首置前言，尾置结论，中间共设三章。 介绍了温州鼓词的概况。温州鼓词可分为平词和大词两种，平词是指演唱根据传书、小说题材改编的鼓词，大词则是镶嵌于仪式活动之中，平词多在词场演唱，大词多在庙宇演唱。20世纪中叶之前，词场和庙宇是温州鼓词主要的展演场域，随着现代传媒技术的发展，温州鼓词走上了音像化之路，历经了广播鼓词、录音鼓词和VCD鼓词这三个阶段并最终形成VCD鼓词这一当前温州鼓词的主要传播方式。 详细介绍了温州鼓词音像化的过程。温州鼓词的音像化过程深受社会环境和技术发展水平的影响。20世纪50年代，广播鼓词走入人们的视野。作为政府意志宣贯的主流媒体，广播词场成为了鼓词“新生”改造的平台。改革开放之后，随着录音机的普及，艺人们开始自由地利用录音技术录制鼓词磁带进行传播，传统题材的鼓词也随之重新回到民众的生活之中。VCD及现代技术的发展推进鼓词的音像化进程，并在专业分工的运作之下形成了从鼓词创编到出版的完备制作流程，促进了鼓词VCD出版合法化和市场化。 以鼓词艺人和观众为考察点，通过鼓词VCD录制现场和播放现场的民族志调查，并以《征西大传》——同一题材不同形式的文本为分析对象，对鼓词VCD这一新传统的表演特征进行分析。艺人作为生产流线上的一环，必须在封闭的摄影棚内，在摄像头和监制的监控之下通过字幕提示进行表演。在这一过程中，鼓词VCD被现代媒介技术重新定义，呈现出与传统现场演唱完全不同的特征即以书面语言为基本语言，以叙事的连贯性、流畅性为追求目标，现场演唱中无助于情节推动的程式被取消，能够调动观众积极性的唱白被简化乃至固定化，而语句重复、语气助词和拟声词不再使用，鼓词VCD更是以叙事的完整性有别于现场演唱的粗线条。同时，鼓词的观演经验亦被重新定义。现代媒介的强大传播能力和永久性记录的特征无形中增加了鼓词艺人的精神负担。在现代制作流程的操作之下艺人需要实现从字幕到演唱的瞬间从而使表演变得“忙乱”而“别扭”。观众的缺失导致艺人只能采取自我反观的方式修正着自我的表演。鼓词VCD的传播方式创造了新的观看方式，观看经验私密化，个人化。 本文认为，口头传统并非一层不变的，而是处于流动的变化之中，并与社会环境、技术的发展息息相关。口头传统的音像化过程并非是对传统的完全背离，同时也体现了对传统的继承与延续。音像化过程使得温州鼓词突破了词场的时空限制，实现了表演场域的扩张。鼓词VCD的生产是被现代媒介重新定义的过程，形成了区别于现场鼓词表演的表演特征和观演经验。在这一过程中，鼓词艺人屈从于市场化的生产流程，消解了鼓词表演的创造性。

Wenzhou Guci is a kind of folk art which is popular in southern Zhejiang,even in east China.With the expanding of the mass media technology, Wenzhou Guci developed form Cichang Guci to VCD Guci in the 20 century.The article analysised the VCD Guci starting from the audience and actor on the basis of combing the developing process of Wenzhou Guc,and rethinked profoundly the existence station of folklore culture in the age of technology. The article have five chapters.The firt chapter is preface.The last chapter is conclusion. The first chapter is the introduction of Wenzhou Guci. Wenzhou Guci has two performance forms,which is Ping Ci and Da Ci. Ping Ci adapted from biographis and novels. Da Ci is a part of ceremonies. Ping Ci plays in the Ci Chang and Da Ci in the temples. The Ci Chang and temples are the main performance field of Wenzhou Guci before the mid-twentieth century. Along with the development of modern media technology, Wenzhou Guci took to the road of audiovisual with three stages of radio Guci, recording Guci and VCD Guci which is the main approach to spread of Wenzhou Guci. The second chapter describes the process of the audiovisual Wenzhou Guci which was influenced deeply by society environment and technology development level. The fourth chapter in the 1950 s, radio Guci appeared. As mainstream media of the government, radio Guci had a lot of Guci about reacting the social reality . After the reform and opening, artists began to use the tape recording technology to make Guci tapes spontaneously with the popularity of the tape recorder,and The traditional Guci returned to people’s lives. The development of VCD and modern technology advanced of the process of the audiovisual of Wenzhou Guci. The production process form compos to publish took shape under production process,which promote Guci VCD the legal of publication and marketization. The third chapter analysis the oral traditional features of VCD and rethink poudly about the relationship between the owner of the traditional and the audivisual of Wenzhou Guci through the ethnography survey about the field of recording VCD and playing. Wenzhou Guci broke the the space and time limit and took a road of the expansion by relying on media technology.For the artists,the stage in the midst likes a prison having no cover.They have to submit to the make on account of the commercial operation mode.The feature of replication of media technology make the artists have no confidence. In the process of making VCD Guci,artists lost the main status of performance,becoming the bearing of the technology. For the audience, The spread of VCD Guci cut off the exchange between the artists and the audience and make their audience experience become personalized private.The text of Guci is redefined by the media technology,which emphasize the completeness and logicality of narrative，making Guci VCD lost the essential meaning of oral performance. The paper argues that oral tradition is not constant, but in a flow of changing, and linked closely with social environment and the development of technology .The process of audiovisual of Wenzhou Guci is not departure from the traditional completely, but also promote the traditional inheritance and continuein a certain time period. The process of audiovisual of Wenzhou Guci broke the space and time limit and expanded the field of performance.However, the process of VCD production is redefined by media.The traditional singing narrative form of Wenzhou Guci service to the modern media narrative requirements. The artist lost the main status of performance and become the object controled by the technology.