本文選題：媒介四定律 + 戲曲�。� 參考：《河南大學(xué)》2016年碩士論文

【摘要】：中國戲曲歷史悠久,具有鮮明的民族特色,在百花齊放的文化藝術(shù)生態(tài)格局中獨樹一幟。然而時移世易,傳統(tǒng)戲曲的當(dāng)代發(fā)展既面臨著挑戰(zhàn)也存在著機(jī)遇。一方面,伴隨著生活節(jié)奏加快和外來文化的沖擊,新興文化形態(tài)層出不窮,大眾審美趣味在不斷改變,作為一種以口傳身授為主的綜合性舞臺表演藝術(shù),傳統(tǒng)戲曲的生存空間日益被壓縮,成為邊緣化的娛樂方式。另一方面,戲曲藝術(shù)經(jīng)歷了從原生態(tài)群體傳播到大眾媒體傳播的變遷,媒介技術(shù)的變革和發(fā)展使戲曲傳播方式逐漸多樣化,為戲曲藝術(shù)的傳承與傳播構(gòu)建了多元化的可視平臺,也為戲曲與動漫的結(jié)合提供了可能。從動漫的藝術(shù)屬性來看,生動活潑的動漫形象對人們有直接的吸引力,豐富包容的創(chuàng)意表現(xiàn)培養(yǎng)著人們的審美能力;從動漫的技術(shù)屬性來看,動漫有著多元化的發(fā)行和傳播載體,逐漸形成了一個開放而具有強(qiáng)大傳播合力的傳播系統(tǒng);從動漫的產(chǎn)業(yè)屬性來看,動漫元素的成功運用和動漫營造的視覺狂歡逐漸擴(kuò)延著動漫的受眾群體,動漫文化呈現(xiàn)大眾化趨勢,促進(jìn)著動漫產(chǎn)業(yè)的發(fā)展。戲曲與動漫存在趨同的娛樂性、故事性、寫意性、程式化表現(xiàn)性,結(jié)合傳播途徑的多樣性帶來戲曲動漫的發(fā)展契機(jī),使戲曲動漫成為一種集藝術(shù)性與觀賞性于一體、傳統(tǒng)與時尚相結(jié)合、戲曲文化與動漫文化共生發(fā)展的新興藝術(shù)形式。隨著讀圖時代的到來,觀看與被觀看成為日常生活重要的組成部分,動漫作為戲曲文化傳播的新媒介,在視覺文化的傳達(dá)中具有得天獨厚的優(yōu)勢,為傳統(tǒng)戲曲提供影像化生存路徑,增加戲曲被觀看的機(jī)會。戲曲的傳統(tǒng)傳播方式中,傳播主體直接面對觀眾,這種親身傳播的方式使得傳受雙方的互動性較強(qiáng),但受戲曲時空傳播和觀眾接受能力的限制,戲曲藝術(shù)并沒有形成大規(guī)模傳播;戲曲的動漫化傳播方式中,傳統(tǒng)戲曲融合數(shù)字媒體技術(shù),大眾傳媒突破了戲曲傳播的時空限制,雖然戲曲藝術(shù)更加貼近觀眾的感官需求,但媒介形式的多樣化消解了戲曲傳播的唯一性,此時的戲曲呈現(xiàn)使傳受雙方直接交流的現(xiàn)場感大大減弱。機(jī)械復(fù)制式存在的戲曲動漫遮蔽著以口傳身授為主要傳承方式的戲曲藝術(shù)。從理解媒介的角度來看,戲曲的動漫化傳播使戲曲的傳統(tǒng)傳播方式成為一種藝術(shù)。戲曲與動漫的交織再現(xiàn)的是在戲曲原生功能不斷消解的環(huán)境下戲曲符號的變異化生存,倚動漫之軀,戲曲藝術(shù)從過時的陰影中回歸大眾視野,使戲曲符號和動漫符號在重新的排列組合中實現(xiàn)各自功能的異延。戲曲符號與動漫符號的文化共生需要文化情感和集體記憶作用下大規(guī)模而持續(xù)的社會參與,同時,二者的結(jié)合會創(chuàng)生出新的情感基礎(chǔ)和集體記憶。戲曲動漫的傳播形式在不斷演變,直到戲曲動漫劇的出現(xiàn),在戲曲價值與動漫語匯的平衡中,動漫作為輔助媒介傳播著戲曲藝術(shù),戲曲藝術(shù)以嶄新的面貌漸漸回歸舞臺。動漫與戲曲藝術(shù)結(jié)合產(chǎn)生放大、遮蔽、再現(xiàn)與逆轉(zhuǎn)的媒介效應(yīng)存在一個循環(huán)漸進(jìn)式展開的過程,從戲曲動漫的整體發(fā)展趨勢及其對現(xiàn)實社會產(chǎn)生的深遠(yuǎn)影響來看,戲曲動漫的創(chuàng)作者既要掌握專業(yè)的動漫制作技術(shù)還要懂戲,從不同的層次分析受眾心理需求,通過定位于不同受眾為目的進(jìn)行戲曲題材、劇目的選擇和動漫形象塑造、動態(tài)表現(xiàn)等形式的設(shè)計,實現(xiàn)對戲曲藝術(shù)的傳播與接受。多層次受眾與多種消費媒介的合理匹配逐步構(gòu)建著戲曲動漫的產(chǎn)業(yè)鏈,通過創(chuàng)造戲曲動漫的民族品牌,促進(jìn)戲曲動漫的消費與認(rèn)同�？傊�,每個傳播元素在戲曲動漫的媒介形態(tài)發(fā)展中都需要扮演積極的角色,這是戲曲動漫最好的時代,我們正確的態(tài)度就是去理解它,理解戲曲,理解動漫。
[Abstract]:Chinese opera has a long history and distinctive national characteristics, which is unique in the cultural and artistic ecological pattern of a hundred flowers. However, the contemporary development of the traditional opera is faced with both challenges and opportunities. On the one hand, with the rapid pace of life and the impact of foreign culture, the emerging culture forms emerge in endlessly, and the masses are aesthetical. As a kind of comprehensive stage performing art based on oral instruction, the living space of traditional opera is increasingly compressed and become marginalized entertainment. On the other hand, the art of opera has gone through the transformation from the original ecological group to the mass media, and the transformation and development of media technology make the opera disseminating party. Gradually diversification, for the inheritance and transmission of the art of opera, a diversified visual platform is constructed, and it is possible for the combination of opera and animation. From the artistic attribute of animation, the lively animation image has a direct attraction to the people. The rich and inclusive creative table shows people's aesthetic ability; from the animation technology. Attribute, the animation has a diversified distribution and dissemination carrier, gradually formed an open and powerful communication system. From the industrial properties of animation, the successful application of animation elements and the visual Carnival created by animation and animation gradually expand the audience group, and the animation culture presents a popular trend, promoting the trend of popularization. The development of the animation industry. The entertainment, the story, the freehand and the stylized expressiveness of the opera and the anime, bring the opportunity of the development of the opera animation with the diversity of the way of communication, and make the opera animation become a combination of art and ornamental, the combination of tradition and fashion, the development of the symbiotic development of opera culture and animation culture. With the coming of the era of reading drawing, watching and being watched become an important part of daily life. As a new medium for the communication of traditional opera culture, anime has a unique advantage in the communication of visual culture, which provides the image survival path for traditional opera and the opportunity to add opera to be watched. Traditional mode of communication of the Opera In the middle, the main body of the communication faces the audience directly, this kind of personal communication makes the communication between the two parties strong, but the opera art has not formed a large-scale communication due to the time and space transmission of the opera and the limitation of the audience's acceptance ability. In the animation transmission mode of the opera, the traditional opera combines digital media technology and the mass media has broken through the traditional opera. The time and space limitation of sowing, although opera art is more close to the audience's sensory needs, the diversification of the media forms the uniqueness of the opera, which reduces the scene sense of the direct communication between the two parties. From the perspective of the understanding of the media, the animated communication of the opera makes the traditional mode of communication of the opera a kind of art. The interweaving and reproduction of the opera and the animation is the variation of the drama symbol under the environment of the original function of the opera, which is dependent on the anime, and the opera art returns to the popular vision from the obsolete shadow. The cultural symbiosis between the drama symbol and the anime symbol requires a large and continuous social participation under the role of cultural emotion and collective memory, while the combination of the two will create a new emotional basis and collective memory. The evolution, until the emergence of the opera comic and animation drama, in the balance between the value of the opera and the anime vocabulary, the animation as an auxiliary medium spread the art of opera, and the art of opera is gradually returning to the stage with a brand new appearance. The overall development trend of the opera animation and its profound influence on the real society, the creator of the opera animation should not only grasp the professional animation production technology but also understand the drama, analyze the audience's psychological needs from different levels, and carry out the drama theme, the choice of the play and the animation image, and the dynamics of the animation. Performance and other forms of design to realize the spread and acceptance of the art of opera. A reasonable match between the multilevel audience and a variety of consumer media gradually builds the industrial chain of the opera animation, and promotes the consumption and identification of the opera animation by creating the national brand of the opera animation. In a word, each communication element is developed in the development of the media form of the opera animation. We all need to play a positive role. This is the best time for opera animation. Our correct attitude is to understand it, to understand opera and to understand anime.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J954;G206

【參考文獻(xiàn)】

相關(guān)期刊論文 前7條

1 鄭秀芬;;論動漫產(chǎn)業(yè)與傳統(tǒng)文化結(jié)合中的雙贏戰(zhàn)略[J];電影文學(xué);2013年01期

2 孫四化;;從大眾審美情趣變遷的角度論戲曲動漫化[J];赤峰學(xué)院學(xué)報(漢文哲學(xué)社會科學(xué)版);2011年12期

3 祁鳳霞;;新媒體時代的中國戲曲動畫創(chuàng)作[J];河北大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2011年06期

4 凌青;;戲曲動漫的發(fā)展現(xiàn)狀及對策研究[J];中國戲劇;2011年10期

5 祁鳳霞;張艷梅;祁海霞;趙婷;;中國戲曲動畫創(chuàng)作的現(xiàn)狀與創(chuàng)新發(fā)展[J];河北學(xué)刊;2011年05期

6 楊艷琪;;傳統(tǒng)戲曲現(xiàn)代化的傳播學(xué)思考[J];新聞愛好者;2011年04期

7 焦福民;;后戲臺時期戲曲傳播論略[J];上海大學(xué)學(xué)報(社會科學(xué)版);2006年02期

相關(guān)重要報紙文章 前1條

1 胡曉宏;;初引動漫“活水” 試載戲曲“旱船”[N];中國文化報;2014年

相關(guān)博士學(xué)位論文 前1條

1 陳少峰;非物質(zhì)文化遺產(chǎn)的動漫化傳承與傳播研究[D];山東大學(xué);2014年

相關(guān)碩士學(xué)位論文 前3條

1 陳雪梅;中國動畫中的戲曲化表演研究[D];重慶大學(xué);2013年

2 周懿;戲曲動畫的特征及傳播途徑研究[D];中國美術(shù)學(xué)院;2011年

3 高琳;論豫劇形式的動畫片對中原文化的傳承[D];中國美術(shù)學(xué)院;2008年

，

本文編號：1942607