新时期以来中国话剧观众期待视野问题研究

发布时间：2019-02-27 10:05

【摘要】：本论文针对新时期以来中国话剧观众期待视野的建构和重构等问题,以新时期以来中国话剧艺术的发展与话剧观众期待视野的交互影响为切入点,以话剧艺术生产—接受的动态构成为基本分析架构,研究新时期以来话剧艺术的沿革和社会文化的变迁对话剧观众期待视野结构及其接受标准、欣赏趣味的影响,并考察新时期以来中国话剧观众期待视野的变迁。话剧观众期待视野问题不仅勾连着话剧观众对剧作的接受,还对话剧艺术创作以及话剧艺术发展产生深远的影响。新时期以来,话剧艺术在创新突破、与时俱进的过程中与话剧观众的联系更为密切、关系也更为复杂。可以说,在话剧观众期待视野的变革与话剧艺术发展的交互影响之下,新时期以来的中国话剧艺术度过了在启蒙话语之中的复苏和危机,经历了大众文化侵袭之下的分化与调整,又迎来了新世纪以来的话剧市场繁荣,这些都与新时期以来中国话剧观众期待视野的沿革有着极为紧密的联系。自新时期以来,随着话剧观众期待视野的变革,话剧观众对话剧艺术的欣赏趣味、欣赏水平、接受标准以及审美需求也在发生转变,不但致使不同时代话剧观众的审美期待有所差别,而且直接影响话剧艺术创作原则的变化和戏剧美学观念的转变,从而形成不同时代话剧艺术接受的不同风貌。因此,对于话剧观众期待视野问题的分析和研究,不仅有其理论指导意义还具有强烈的现实意义。一方面,话剧观众期待视野与话剧艺术创作密不可分,对话剧观众期待视野的分析和把握是剧作家、导演、戏剧理论家不容忽视的问题。另一方面,话剧观众期待视野问题不仅能够反映话剧艺术的具体接受情况,还规定和制约着话剧艺术的未来发展。第一部分,阐明话剧观众的接受特性及其期待视野的主要特征。话剧观众群体在同一时间、处于同一空间欣赏表演,观看话剧作为集体体验,其接受具有群体性、场域性、社会性、时代性等特征,这不仅对话剧观众的接受起到具体的限定和制约作用,还影响着话剧观众期待视野的建构和变革。话剧观众期待视野的形成除了受到话剧艺术接受特性的规定与制约,话剧艺术形式与风格、话剧观众审美心理共通性、社会文化思潮和审美风尚等因素都将对话剧观众期待视野的形成起到至关重要的影响。第二部分,阐述1980年代话剧观众对话剧艺术的创新期待。1980年代话剧艺术逐渐复苏并面临危机,在启蒙话语中,话剧艺术的不断创新与话剧观众期待视野的交互影响,重新建构着话剧观众的期待视野。1980年代话剧观众对文革积弊的批判热情及其对话剧艺术突破内容局限的期待影响着话剧艺术的发展,而话剧观众对话剧艺术突破“第四堵墙”的期待亦促使话剧艺术观念和表现手段的创新。第三部分,从1990年代话剧观众期待视野的变化,阐述话剧观众接受与话剧创作的互动。1990年代大众文化全面侵袭和精英文化退守边缘,促使话剧观众期待视野和话剧艺术发展出现新变。在世俗话语中,1990年代话剧观众审美习惯、接受标准、欣赏趣味出现转变。大众文化对话剧观众期待视野的全面侵袭,致使话剧观众的审美需求和欣赏标准趋于世俗化。这使得话剧艺术对其创作观念和表现手段进行调整,话剧艺术风格开始向现实主义回潮,而先锋实验话剧却拒绝迎合大众趣味,叛离话剧观众的期待视野。第四部分,从新世纪以来话剧观众期待视野的多元呈现,阐述话剧艺术多样发展与话剧观众期待视野的密切联结。新世纪以来,随着话剧市场的商业化、娱乐化加剧以及年轻话剧观众群体的现出,在娱乐商业话剧的扩张化、先锋实验话剧的内倾化、主旋律话剧的奇观化与话剧观众期待视野的低幼化、皱缩化、稳定化的作用之下,进一步促进话剧艺术发展与话剧观众期待视野的交互影响,从而使得新世纪以来的话剧艺术创作与话剧观众接受呈现新的风貌。话剧观众期待视野作为话剧艺术生产—接受动态模式的重要关节点,能够为中国当代话剧观众接受研究建立参照系,使研究具有现实意义,实现理论建构的有效性。从新时期以来中国话剧艺术的发展脉络和社会文化语境的变革来观照话剧观众审美经验期待视野的变迁,不但能够将话剧观众期待视野问题研究置于中国当代社会文化发展和中国当代话剧历史演进中进行总体考察,而且对梳理新时期以来中国话剧观众期待视野的变迁以及话剧观众接受等问题有所助益。
[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.
【学位授予单位】：辽宁大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J824

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