论戏曲受众接受心理研究的实践意义
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摘要
戏曲的观众,是剧目创作最终的完成者,也是戏曲创作、剧目价值实现过程中的重要环节。自戏曲以成熟的形态出现之时,便有戏曲家关注并重视观众的作用。文章具体分析当代戏曲观众进剧场的行为和接受心理的特性,提出如何在戏曲创作过程中站在观众的角度进行创作,来进一步论证戏曲受众接受心理研究对于戏曲创作的重要作用。
The acceptor of opera production is not only the final completion and disseminator of opera creation, but also an important link with the process of opera creation and opera value realization. Since the emergence of opera in a mature form, there have been dramatists who pay attention to the role of the audience. This paper specifically analyzed the behavior and psychological characteristics of contemporary opera audiences entering the theatre, and put forward suggestion on how to win box office and market in the process of opera creation from the perspective of audiences, so as to further demonstrate the important role of psychological research of opera audiences in the opera creation.
The acceptor of opera production is not only the final completion and disseminator of opera creation, but also an important link with the process of opera creation and opera value realization. Since the emergence of opera in a mature form, there have been dramatists who pay attention to the role of the audience. This paper specifically analyzed the behavior and psychological characteristics of contemporary opera audiences entering the theatre, and put forward suggestion on how to win box office and market in the process of opera creation from the perspective of audiences, so as to further demonstrate the important role of psychological research of opera audiences in the opera creation.
引文
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[5]陈多,叶长海.中国历代剧论选注[M].上海:上海古籍出版社,2010:391.
[6]吴存浩.城市民俗文化与农村民俗文化差异论[J].民俗研究,2004:36.
[7][13]蓝凡.中西戏剧比较论[M].上海:学林出版社,1992:542,558.
[8][16]庄丹华等.甬剧老艺人口述史[M].杭州:浙江文史出版社,2016:65,68.
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[18]赵山林.中国戏曲传播接受史[M].上海:上海人民出版社,2008:1.