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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。

    ;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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