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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/76611


    Title: 21世紀市場化語境下戲曲的困頓與重新定位——以京滬寧京劇與崑曲中探索案例為研究對象
    Authors: 崔蕾;Cui, Lei
    Contributors: 中國文學系
    Keywords: 市場化;改革;年輕觀眾;創新;marketization;reform;young audience;creative
    Date: 2018-07-24
    Issue Date: 2018-08-31 11:29:48 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 中國戲曲一直是中國傳統文化中最值得驕傲的篇章之一,但隨著上世紀末市場經濟的浪潮襲來,大眾傳播方式的迅速發展與普及,人們生活節奏加快、生活方式的改變所引發的文化娛樂傾向、審美趣味、審美習慣的變化等,令長期忽略商品屬性的戲曲藝術遭遇了前所未有的危機,觀眾紛紛離開劇場、遠離戲曲,演出市場急劇萎縮。
    進入到21世紀,面對新興的觀眾階層及其觀劇心理的多維變化,傳統戲曲藝術也開始根據當下觀眾的審美心理變化進行自身調整,希望在按照市場規律下進行編導、創演的戲曲演出,能夠重新吸引新老觀眾進入劇場,在激烈的文娛產業市場競爭中拓展出自己獨特的影響力,藉此來擺脫市場化語境下的戲曲生存危機。
    本文主要以21世紀以來,京崑劇團直面市場化語境中的困境,而重新進行定位的較為成功案例為參考,其中包括北京京劇院、江蘇省崑劇院、張軍崑曲藝術中心、王珮瑜個人工作室,對這四個不同體制類型的進行重點分析,以求從中得到一定成功經驗對其它劇種、劇團起到參考、引導作用。也同時在分析中看到成功案例所存在的不足,起到警醒作用。

    ;The Chinese opera has constantly been one of the proudest chapters in traditional Chinese culture. However, this chapter, the opera , is facing with the danger which it has never met. The audience has been being away from the theatre and the operas. The theatre market has been shrinking sharply. This occurrence of the danger is not only caused by the Chinese opera having no commodity characteristics, but also because of the crash of the marketing economy in the late 20th century which makes the mass media develop and popularized sharply. Under this condition, the life style is being changed and the life pace is being accelerated, with which the change of the trend of the culture and the entertainment, as well as the interests and the habits of the aesthetic is following.
    Until the 21th century, facing with the new strata of the audience and their multi- dimensional opera watching mentality, the traditional opera art has been also starting to adjust itself according to the mentality and the aesthetic of the audience, hoping that the opera shows created, directed and showed under the regulations of the marketing economy could again attract the new and the old audience and deepen its own special effect in the intense competition of the culture and entertainment industries, so as to keep away from the existence crisis in the marketing trend.
    This article is based on the case where the Pecking Opera and the Kun Opera troupe has been directly facing with the difficulties and successfully relocating their position in the marketing economy from the beginning of the 21th century. This article focuses on the analyze of the performance of the four different mechanisms of the Pecking Opera Troupe of Beijing, the Kun Opera Troupe of Jiangsu Province, the ZhangJun Kun Opera Art Center and the Wang Peiyu personal Studio, so as to seek some successful experience helping to guide the other kinds of the operas and the opera troupes. And at the same time, the shortcomings of this successful case could warn the other opera troupes.
    Appears in Collections:[中國文學研究所] 博碩士論文

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