本文選題：河南衛(wèi)視　切入點(diǎn)：梨園春　出處：《河北大學(xué)》2010年碩士論文

【摘要】： 通過《梨園春》的發(fā)展成長歷程,追溯《梨園春》能在戲曲欄目市場整體下滑的背景下能走紅的文化淵源、理論可行性來揭示《梨園春》的輝煌點(diǎn)支撐何在,并在此基礎(chǔ)上分析成功的創(chuàng)新因素組合。河南衛(wèi)視的電視戲曲品牌欄《梨園春》以豐厚的地域文化資源作為起點(diǎn)、以草根娛樂草根作為賣點(diǎn)、其間穿插著“過足癮”的“游戲規(guī)則”與深得民心的“親民形象”、輔之原汁原味的戲曲盛宴和戲曲與電視結(jié)緣的審美特征的成功運(yùn)用。它提供的平臺使受眾在廣泛的參與中獲得了物質(zhì)的、精神的滿足乃至社會地位的改變。正是《梨園春》在內(nèi)容形式上、風(fēng)格上、以及媒體營銷策略上創(chuàng)新和突破,其因素綜合長期磨合發(fā)生作用才打造了這樣一個(gè)知名的文化品牌。當(dāng)然,《梨園春》欄目也并不是沒有瑕疵的。面對學(xué)界和業(yè)界大力對《梨園春》的欣喜與贊揚(yáng),我們要清醒地看到,雖然欄目已經(jīng)進(jìn)入成熟期,迄今為止欄目發(fā)展尚不完善,內(nèi)涵還有些單薄,加上盲目的改革,甚至在某種意義上可以說正在滑向畸形發(fā)展的路上去。它的問題表面上主要存在于賽事規(guī)則多變、娛樂化傾向、廣告泛濫、傳播內(nèi)容的單一,“和諧”理念的缺失、少兒擂臺的成人氣息濃厚等方面。深層上分析是過度的商業(yè)介入和欄目在拓展時(shí)的理念存在嚴(yán)重缺陷,這種潛在的不利局面理應(yīng)及時(shí)給予作出嚴(yán)肅的思考。試問:在大眾傳媒更迭紛呈的高科技時(shí)代,在多元文化“亂花漸欲迷人眼”的社會,老觀眾是否還會繼續(xù)買《梨園春》的賬?是否還會一如既往地暢游在《梨園春》為他們搭建的戲曲競技平臺上?《梨園春》曾經(jīng)給了戲曲欄目一個(gè)春天,目前為止這個(gè)春天還在延續(xù),但如此放任發(fā)展下去,真的無法預(yù)料《梨園春》的“春天”還會有多久。所以說,如何真正地承載起“弘揚(yáng)民族戲曲文化藝術(shù)”的任務(wù),如何放寬視野,探討中國傳統(tǒng)文化的傳承路徑仍是一個(gè)值得提上日程的問題。
[Abstract]:Through the development and growth process of "Li Yuan Spring", tracing back to the cultural origin of "Li Yuan Spring" which can become popular under the background of the overall decline of the opera column market, the theoretical feasibility is to reveal where the brilliant point of "Li Yuan Spring" is supported.On this basis, the successful combination of innovative factors is analyzed.Henan Satellite TV's TV opera brand "Li Yuan Chun" takes rich regional cultural resources as the starting point and grassroots entertainment grass root as the selling point, in which the "rules of the game" and the popular "pro-people image" are interspersed.The successful application of the aesthetic characteristics of the traditional Chinese opera banquet and the connection between the opera and television.It provides a platform for the audience to gain material, spiritual satisfaction and social status change in broad participation.It is in the content form, style and media marketing strategy that "Li Yuan Spring" has been innovated and broken through, and its factors have combined the long-term running-in effect to create such a well-known cultural brand.Of course, the "pear garden spring" column is not without flaws.In the face of the joy and praise of the academic community and the industry, we should soberly see that although the column has entered a mature period, so far the column has not developed well, and its connotation is still a little thin, coupled with blind reform.Even in a sense, it can be said to be sliding to the abnormal development of the road.On the surface, its problems mainly exist in the following aspects: changeable rules, entertainment tendency, overflowing advertisements, single dissemination of content, lack of harmonious idea, strong adult atmosphere of children's ring, etc.The deep analysis is that the excessive commercial intervention and the serious defects in the idea of expanding the column, this potential disadvantage situation should be given serious consideration in time.May I ask: in the hi-tech age when the mass media are changing, and in a multi-cultural society where "flowers are becoming more and more attractive", will the old audience continue to buy the "Li Yuan Spring" account?Will you, as always, swim on the competitive platform of opera built for them by "Li Yuan Chun"? "Li Yuan Chun" once gave the opera column a spring. So far, this spring has continued, but it has been allowed to develop so freely.I really can't predict how long the spring of the pear orchard will last.Therefore, how to truly carry forward the task of "carrying forward the culture and art of national opera", how to broaden the vision, and how to explore the way of inheriting Chinese traditional culture is still a problem worthy to be put on the agenda.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：G222

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王曉培;;創(chuàng)新的傳播學(xué)——戴著腳鐐舞蹈:《梨園春》節(jié)目解讀[J];神州;2013年03期

相關(guān)碩士學(xué)位論文 前1條

1 馬瑤;近三十年中國電視戲曲研究述評[D];山西師范大學(xué);2012年

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本文編號：1695891