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|Authors: ||崔蕾;Cui, Lei|
|Keywords: ||市場化;改革;年輕觀眾;創新;marketization;reform;young audience;creative|
|Issue Date: ||2018-08-31 11:29:48 (UTC+8)|
;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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