新時(shí)期以來中國(guó)話劇觀眾期待視野問題研究
發(fā)布時(shí)間：2019-02-27 10:05
【摘要】：本論文針對(duì)新時(shí)期以來中國(guó)話劇觀眾期待視野的建構(gòu)和重構(gòu)等問題,以新時(shí)期以來中國(guó)話劇藝術(shù)的發(fā)展與話劇觀眾期待視野的交互影響為切入點(diǎn),以話劇藝術(shù)生產(chǎn)—接受的動(dòng)態(tài)構(gòu)成為基本分析架構(gòu),研究新時(shí)期以來話劇藝術(shù)的沿革和社會(huì)文化的變遷對(duì)話劇觀眾期待視野結(jié)構(gòu)及其接受標(biāo)準(zhǔn)、欣賞趣味的影響,并考察新時(shí)期以來中國(guó)話劇觀眾期待視野的變遷。話劇觀眾期待視野問題不僅勾連著話劇觀眾對(duì)劇作的接受,還對(duì)話劇藝術(shù)創(chuàng)作以及話劇藝術(shù)發(fā)展產(chǎn)生深遠(yuǎn)的影響。新時(shí)期以來,話劇藝術(shù)在創(chuàng)新突破、與時(shí)俱進(jìn)的過程中與話劇觀眾的聯(lián)系更為密切、關(guān)系也更為復(fù)雜�？梢哉f,在話劇觀眾期待視野的變革與話劇藝術(shù)發(fā)展的交互影響之下,新時(shí)期以來的中國(guó)話劇藝術(shù)度過了在啟蒙話語(yǔ)之中的復(fù)蘇和危機(jī),經(jīng)歷了大眾文化侵襲之下的分化與調(diào)整,又迎來了新世紀(jì)以來的話劇市場(chǎng)繁榮,這些都與新時(shí)期以來中國(guó)話劇觀眾期待視野的沿革有著極為緊密的聯(lián)系。自新時(shí)期以來,隨著話劇觀眾期待視野的變革,話劇觀眾對(duì)話劇藝術(shù)的欣賞趣味、欣賞水平、接受標(biāo)準(zhǔn)以及審美需求也在發(fā)生轉(zhuǎn)變,不但致使不同時(shí)代話劇觀眾的審美期待有所差別,而且直接影響話劇藝術(shù)創(chuàng)作原則的變化和戲劇美學(xué)觀念的轉(zhuǎn)變,從而形成不同時(shí)代話劇藝術(shù)接受的不同風(fēng)貌。因此,對(duì)于話劇觀眾期待視野問題的分析和研究,不僅有其理論指導(dǎo)意義還具有強(qiáng)烈的現(xiàn)實(shí)意義。一方面,話劇觀眾期待視野與話劇藝術(shù)創(chuàng)作密不可分,對(duì)話劇觀眾期待視野的分析和把握是劇作家、導(dǎo)演、戲劇理論家不容忽視的問題。另一方面,話劇觀眾期待視野問題不僅能夠反映話劇藝術(shù)的具體接受情況,還規(guī)定和制約著話劇藝術(shù)的未來發(fā)展。第一部分,闡明話劇觀眾的接受特性及其期待視野的主要特征。話劇觀眾群體在同一時(shí)間、處于同一空間欣賞表演,觀看話劇作為集體體驗(yàn),其接受具有群體性、場(chǎng)域性、社會(huì)性、時(shí)代性等特征,這不僅對(duì)話劇觀眾的接受起到具體的限定和制約作用,還影響著話劇觀眾期待視野的建構(gòu)和變革。話劇觀眾期待視野的形成除了受到話劇藝術(shù)接受特性的規(guī)定與制約,話劇藝術(shù)形式與風(fēng)格、話劇觀眾審美心理共通性、社會(huì)文化思潮和審美風(fēng)尚等因素都將對(duì)話劇觀眾期待視野的形成起到至關(guān)重要的影響。第二部分,闡述1980年代話劇觀眾對(duì)話劇藝術(shù)的創(chuàng)新期待。1980年代話劇藝術(shù)逐漸復(fù)蘇并面臨危機(jī),在啟蒙話語(yǔ)中,話劇藝術(shù)的不斷創(chuàng)新與話劇觀眾期待視野的交互影響,重新建構(gòu)著話劇觀眾的期待視野。1980年代話劇觀眾對(duì)文革積弊的批判熱情及其對(duì)話劇藝術(shù)突破內(nèi)容局限的期待影響著話劇藝術(shù)的發(fā)展,而話劇觀眾對(duì)話劇藝術(shù)突破“第四堵墻”的期待亦促使話劇藝術(shù)觀念和表現(xiàn)手段的創(chuàng)新。第三部分,從1990年代話劇觀眾期待視野的變化,闡述話劇觀眾接受與話劇創(chuàng)作的互動(dòng)。1990年代大眾文化全面侵襲和精英文化退守邊緣,促使話劇觀眾期待視野和話劇藝術(shù)發(fā)展出現(xiàn)新變。在世俗話語(yǔ)中,1990年代話劇觀眾審美習(xí)慣、接受標(biāo)準(zhǔn)、欣賞趣味出現(xiàn)轉(zhuǎn)變。大眾文化對(duì)話劇觀眾期待視野的全面侵襲,致使話劇觀眾的審美需求和欣賞標(biāo)準(zhǔn)趨于世俗化。這使得話劇藝術(shù)對(duì)其創(chuàng)作觀念和表現(xiàn)手段進(jìn)行調(diào)整,話劇藝術(shù)風(fēng)格開始向現(xiàn)實(shí)主義回潮,而先鋒實(shí)驗(yàn)話劇卻拒絕迎合大眾趣味,叛離話劇觀眾的期待視野。第四部分,從新世紀(jì)以來話劇觀眾期待視野的多元呈現(xiàn),闡述話劇藝術(shù)多樣發(fā)展與話劇觀眾期待視野的密切聯(lián)結(jié)。新世紀(jì)以來,隨著話劇市場(chǎng)的商業(yè)化、娛樂化加劇以及年輕話劇觀眾群體的現(xiàn)出,在娛樂商業(yè)話劇的擴(kuò)張化、先鋒實(shí)驗(yàn)話劇的內(nèi)傾化、主旋律話劇的奇觀化與話劇觀眾期待視野的低幼化、皺縮化、穩(wěn)定化的作用之下,進(jìn)一步促進(jìn)話劇藝術(shù)發(fā)展與話劇觀眾期待視野的交互影響,從而使得新世紀(jì)以來的話劇藝術(shù)創(chuàng)作與話劇觀眾接受呈現(xiàn)新的風(fēng)貌。話劇觀眾期待視野作為話劇藝術(shù)生產(chǎn)—接受動(dòng)態(tài)模式的重要關(guān)節(jié)點(diǎn),能夠?yàn)橹袊?guó)當(dāng)代話劇觀眾接受研究建立參照系,使研究具有現(xiàn)實(shí)意義,實(shí)現(xiàn)理論建構(gòu)的有效性。從新時(shí)期以來中國(guó)話劇藝術(shù)的發(fā)展脈絡(luò)和社會(huì)文化語(yǔ)境的變革來觀照話劇觀眾審美經(jīng)驗(yàn)期待視野的變遷,不但能夠?qū)⒃拕∮^眾期待視野問題研究置于中國(guó)當(dāng)代社會(huì)文化發(fā)展和中國(guó)當(dāng)代話劇歷史演進(jìn)中進(jìn)行總體考察,而且對(duì)梳理新時(shí)期以來中國(guó)話劇觀眾期待視野的變遷以及話劇觀眾接受等問題有所助益。
[Abstract]:In view of the construction and reconstruction of the visual field of the Chinese drama audience since the new period, the development of the Chinese drama art and the interaction influence of the view of the drama audience in the new period are the entry point, and the dynamic structure of the drama art production and acceptance is the basic analysis framework. The evolution of the drama art and the change of the social culture since the new period have made the audience of the play look forward to the structure of the visual field and the acceptance criteria, to appreciate the influence of the interest, and to examine the changes of the visual field of the Chinese drama audience since the new period. The view of the audience in the play is not only the acceptance of the play, but also the far-reaching influence on the artistic creation of the drama and the development of the drama. Since the new period, the drama art is more closely related to the drama audience in the process of innovation breakthrough and with the times, and the relationship is more complicated. It can be said that, under the influence of the change of the visual field of the play and the interaction of the development of the play art, the Chinese drama art has experienced the recovery and the crisis in the enlightenment discourse since the new period, and experienced the differentiation and adjustment under the attack of the mass culture. The development of the drama market since the new century has a very close relationship with the evolution of the view of the Chinese drama audience since the new era. Since the new period, with the change of the view of the audience of the play, the appreciation of the play art, the appreciation level, the acceptance standard and the aesthetic demand have also changed, which not only caused the aesthetic expectation of the drama audience of different times to be different, But also directly influences the change of the principle of the artistic creation of the drama and the change of the aesthetic concept of the drama, thereby forming different styles of the artistic acceptance of the drama in different times. Therefore, it is of great practical significance to analyze and study the field of view of the audience of the play. On the one hand, the view of the audience of the play is closely related to the artistic creation of the play, and the analysis and grasp of the expected visual field of the drama audience is the problem that the playwright, the director and the drama theorist can't ignore. On the other hand, the view of the drama audience can not only reflect the concrete acceptance of the play art, but also stipulate and restrict the future development of the play art. The first part is to illustrate the characteristics of the audience and the main characteristics of the expected visual field. in that same time, the audience group of the play, in the same space, enjoy the performance, and watch the play as a collective experience, which accept the characteristics of group, field, social, times, etc., which not only play a specific limitation and restriction on the acceptance of the play audience, It also influences the construction and change of the view of the audience of the play. In addition to the regulation and restriction of the artistic acceptance of the drama, the form and style of the play art, the aesthetic psychology of the audience of the play, the social and cultural thoughts and the aesthetic fashion will have a very important influence on the formation of the view of the audience of the play. In the second part, the author expounds the creative anticipation of the play art in the 1980 's. In the 1980s, the drama art gradually recovered and faced the crisis, and in the enlightenment discourse, the continuous innovation of the drama art and the interaction influence of the drama viewer looking forward to the visual field, In the 1980s, the audience's criticism of the advantages and disadvantages of the Cultural Revolution and its limitation on the content of the artistic breakthrough of the drama influenced the development of the play art. And the expectation of the drama audience to break the "The fourth wall" of the drama art also promotes the innovation of the art concept and the expression means of the play. The third part, from the perspective of the audience of the drama in the 1990s, expounds the interaction between the audience of the play and the creation of the drama. In the secular discourse, the aesthetic habit of the audience in the 1990s, the acceptance of the standard, the appreciation of interest have changed. The mass culture has an overall attack on the view of the audience of the drama, and the aesthetic demand and the appreciation standard of the audience of the drama tend to be secularized. This makes the play art adjust to its creation idea and expression means, the play style of the play begins to regain the realism, and the pioneer experimental play refuses to cater to the public interest, and defends the expected visual field of the drama audience. The fourth part, from the beginning of the new century, the drama viewer looks forward to the multi-element presentation of the visual field, and expounds the close connection of the various development of the play art with the expected visual field of the drama viewer. Since the new century, with the commercialization of the drama market, the intensification of the entertainment and the emergence of the crowd of the young drama, in the expansion of the entertainment commercial play, the inner inclination of the pioneer experimental drama, the wonders of the main melody plays and the low-young and shrinking of the visual field of the drama, Under the effect of stabilization, the influence of the play art development and the audience's expected visual field is further promoted, so that the play art creation and the play audience have accepted the new style since the new century. The view of the audience of the play is the important node of the play art production and acceptance of the dynamic model, which can set up a frame of reference for the audience of Chinese contemporary drama, make the research have practical significance, and realize the effectiveness of the theoretical construction. From the development of Chinese drama art and the change of the social and cultural context since the new time, the aesthetic experience of the drama audience is expected to be changed, Not only can the study of the field of view of the drama audience be put into the general investigation in the development of Chinese contemporary social culture and the evolution of Chinese contemporary drama history, but also can help the audience of Chinese drama to look forward to the change of the visual field and the acceptance of the audience of the drama since the new period.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J824
本文編號(hào)：2431353
[Abstract]:In view of the construction and reconstruction of the visual field of the Chinese drama audience since the new period, the development of the Chinese drama art and the interaction influence of the view of the drama audience in the new period are the entry point, and the dynamic structure of the drama art production and acceptance is the basic analysis framework. The evolution of the drama art and the change of the social culture since the new period have made the audience of the play look forward to the structure of the visual field and the acceptance criteria, to appreciate the influence of the interest, and to examine the changes of the visual field of the Chinese drama audience since the new period. The view of the audience in the play is not only the acceptance of the play, but also the far-reaching influence on the artistic creation of the drama and the development of the drama. Since the new period, the drama art is more closely related to the drama audience in the process of innovation breakthrough and with the times, and the relationship is more complicated. It can be said that, under the influence of the change of the visual field of the play and the interaction of the development of the play art, the Chinese drama art has experienced the recovery and the crisis in the enlightenment discourse since the new period, and experienced the differentiation and adjustment under the attack of the mass culture. The development of the drama market since the new century has a very close relationship with the evolution of the view of the Chinese drama audience since the new era. Since the new period, with the change of the view of the audience of the play, the appreciation of the play art, the appreciation level, the acceptance standard and the aesthetic demand have also changed, which not only caused the aesthetic expectation of the drama audience of different times to be different, But also directly influences the change of the principle of the artistic creation of the drama and the change of the aesthetic concept of the drama, thereby forming different styles of the artistic acceptance of the drama in different times. Therefore, it is of great practical significance to analyze and study the field of view of the audience of the play. On the one hand, the view of the audience of the play is closely related to the artistic creation of the play, and the analysis and grasp of the expected visual field of the drama audience is the problem that the playwright, the director and the drama theorist can't ignore. On the other hand, the view of the drama audience can not only reflect the concrete acceptance of the play art, but also stipulate and restrict the future development of the play art. The first part is to illustrate the characteristics of the audience and the main characteristics of the expected visual field. in that same time, the audience group of the play, in the same space, enjoy the performance, and watch the play as a collective experience, which accept the characteristics of group, field, social, times, etc., which not only play a specific limitation and restriction on the acceptance of the play audience, It also influences the construction and change of the view of the audience of the play. In addition to the regulation and restriction of the artistic acceptance of the drama, the form and style of the play art, the aesthetic psychology of the audience of the play, the social and cultural thoughts and the aesthetic fashion will have a very important influence on the formation of the view of the audience of the play. In the second part, the author expounds the creative anticipation of the play art in the 1980 's. In the 1980s, the drama art gradually recovered and faced the crisis, and in the enlightenment discourse, the continuous innovation of the drama art and the interaction influence of the drama viewer looking forward to the visual field, In the 1980s, the audience's criticism of the advantages and disadvantages of the Cultural Revolution and its limitation on the content of the artistic breakthrough of the drama influenced the development of the play art. And the expectation of the drama audience to break the "The fourth wall" of the drama art also promotes the innovation of the art concept and the expression means of the play. The third part, from the perspective of the audience of the drama in the 1990s, expounds the interaction between the audience of the play and the creation of the drama. In the secular discourse, the aesthetic habit of the audience in the 1990s, the acceptance of the standard, the appreciation of interest have changed. The mass culture has an overall attack on the view of the audience of the drama, and the aesthetic demand and the appreciation standard of the audience of the drama tend to be secularized. This makes the play art adjust to its creation idea and expression means, the play style of the play begins to regain the realism, and the pioneer experimental play refuses to cater to the public interest, and defends the expected visual field of the drama audience. The fourth part, from the beginning of the new century, the drama viewer looks forward to the multi-element presentation of the visual field, and expounds the close connection of the various development of the play art with the expected visual field of the drama viewer. Since the new century, with the commercialization of the drama market, the intensification of the entertainment and the emergence of the crowd of the young drama, in the expansion of the entertainment commercial play, the inner inclination of the pioneer experimental drama, the wonders of the main melody plays and the low-young and shrinking of the visual field of the drama, Under the effect of stabilization, the influence of the play art development and the audience's expected visual field is further promoted, so that the play art creation and the play audience have accepted the new style since the new century. The view of the audience of the play is the important node of the play art production and acceptance of the dynamic model, which can set up a frame of reference for the audience of Chinese contemporary drama, make the research have practical significance, and realize the effectiveness of the theoretical construction. From the development of Chinese drama art and the change of the social and cultural context since the new time, the aesthetic experience of the drama audience is expected to be changed, Not only can the study of the field of view of the drama audience be put into the general investigation in the development of Chinese contemporary social culture and the evolution of Chinese contemporary drama history, but also can help the audience of Chinese drama to look forward to the change of the visual field and the acceptance of the audience of the drama since the new period.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J824
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