【摘要】：近年來(lái)，充斥銀屏的歷史題材劇作讓大眾應(yīng)接不暇，尤其是宮廷劇占據(jù)了各大頻道，呈現(xiàn)出一派繁榮景象。宮廷劇在市場(chǎng)和收視率上創(chuàng)下高回報(bào)成績(jī)的同時(shí)，在學(xué)術(shù)界也引起了廣泛的關(guān)注和研討。 受到大眾文化消費(fèi)影響，宮廷劇的編導(dǎo)們改變了以往的政治說(shuō)教，而站在平民、世俗的角度對(duì)歷史重新進(jìn)行闡釋，迎合了大眾的審美趣味，獲得了較高的經(jīng)濟(jì)效益，但是過(guò)分曲解歷史，題材雷同缺乏創(chuàng)新精神，重點(diǎn)關(guān)注后宮“斗爭(zhēng)”，其發(fā)展也是危機(jī)四伏。隨著《宮鎖心玉》的熱播，掀起了宮廷劇的熱潮，而后，《后宮·甄[傳》、《傾世皇妃》、《武則天秘史》、《萬(wàn)凰之王》等一系列宮廷劇迅速上映，占據(jù)熒屏電視劇創(chuàng)作的半邊天。各大宮廷劇在電視熒屏創(chuàng)下了較高收視率、獲得不同知識(shí)層次觀眾喜愛的同時(shí)，也備受理論界的批評(píng)。 本文以宮廷劇為研究對(duì)象，對(duì)宮廷劇的定義、類型、歷時(shí)性衍變、主要特征進(jìn)行了全面的梳理；并從大眾文化消費(fèi)、歷史通俗熱兩個(gè)外在影響因素，以及它傳播的宮廷文化、迎合觀眾審美需求、演繹的現(xiàn)實(shí)意義三個(gè)方面的內(nèi)在因素，分析了宮廷劇熱潮的原因；然后從整體把握宮廷劇的社會(huì)影響，指出當(dāng)下宮廷劇存在的不足，最后提出應(yīng)有對(duì)策。 宮廷劇在發(fā)展勢(shì)頭強(qiáng)勁的同時(shí)，也面臨一些嚴(yán)峻的挑戰(zhàn)。其表現(xiàn)在過(guò)于迎合觀眾和注重收視率，并一味追求片面的消遣性，娛樂化效果及世俗化。要使宮廷劇經(jīng)久不衰，必須把民族文化精神與娛樂化、世俗化的追求有機(jī)結(jié)合起來(lái)，在歷史與藝術(shù)之間找到契合點(diǎn)，將宮廷歷史電視劇置于當(dāng)前社會(huì)大環(huán)境中來(lái)演繹，，宮廷劇才有可能突破發(fā)展難題，在中國(guó)電視劇史上繼續(xù)譜寫和諧樂章。
[Abstract]:In recent years, historical plays filled with screens have overwhelmed the public, especially court dramas, which dominate major channels and present a prosperous scene. Court drama in the market and ratings set a high return at the same time in the academic community also caused widespread concern and research. Influenced by the consumption of popular culture, the choreographers of court dramas changed the political preaching in the past, and reinterpreted history from the perspective of the common people and the secular, pandering to the aesthetic tastes of the masses and obtaining higher economic benefits. However, excessive misinterpretation of history, lack of innovative spirit, focus on the Hougong "struggle", its development is also dangerous. With the popularity of "Palace Lock Jade", it set off an upsurge of court drama, and then, a series of court dramas, such as "Hougong Zhen", "Imperial Princess of the World", "the Secret History of Wu Zetian", "King of the Ten thousand Huang", and so on, quickly released, occupied half of the screen TV series creation. Court dramas have achieved high ratings on TV screens and have been loved by audiences at different levels of knowledge, and have also been criticized by the theorists. This article regards court drama as the research object, analyzes the definition, type, diachronic evolution and main characteristics of court drama, and analyzes the two external factors of mass culture consumption, popular history and popularity, and the court culture it spreads. Catering to the aesthetic needs of the audience, interpretation of the realistic significance of the three internal factors, analyzed the reasons for the upsurge of court drama; then from the overall grasp of the social impact of court drama, pointed out the shortcomings of the current court drama, and finally put forward the due countermeasures. Court drama in the development momentum is strong, but also faces some severe challenges. Its performance is that it caters to the audience too much and pays attention to the audience rate, and blindly pursues the one-sided recreation, the entertainment effect and the secularization. In order to make court dramas last, we must combine the spirit of national culture with entertainment, the pursuit of secularization, find a point of convergence between history and art, and put the court history drama in the present social environment to deduce. Court drama is likely to break through the development problem and continue to compose harmonious music in the history of Chinese TV series.
【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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