传播学视角下的四川藏区藏戏艺术现状、传承与发展研究  

A Communication Perspective on the Current Situation, Inheritance and Development of Tibetan Opera Art in Sichuan

作　　者：白一君 BAI Yijun(Spoken Language School of Sichuan University of Media and Communications,Chengdu Sichuan 610225,China)

机构地区：[1]天府新区航空旅游职业学院教务处,四川成都620010

出　　处：《四川文理学院学报》2019年第3期119-125,共7页Sichuan University of Arts and Science Journal

基　　金：国家艺术基金2018年资助项目(2018-A-04(003)-0534)

摘　　要：被称为"藏民族文化活化石"的藏戏是我国地方剧种之一,因其悠久的历史、浓厚的宗教与民族文化背景,吸引着国内外专家学者的探索与研究。多民族聚居,多元文化并存的四川藏区,其藏戏艺术发展同样兼容并包,呈现出多元态势。藏戏艺术在传承与发展中存在着民族性与现代性的冲突,封闭与开放的争议,在"走出去"的路程中遭遇瓶颈。结合阿坝州及甘孜州部分县市藏剧团及藏戏文化现状,在传播语境下,从传播主体、内容、媒介、受众、效果五个角度,思考藏戏如何突破重围,成为能代表中国元素的符号屹立于世界文化艺术之林。Tibetan opera, known as the "living fossil of Tibetan culture", is one of the local operas in China. Because of its long history, strong religious and ethnic cultural background, it attracts the exploration and research of experts and scholars at home and abroad. The development of Tibetan opera art in Sichuan Tibetan region, where multi-ethnic groups live together and multi-cultures coexist, is also inclusive and shows a multi-dimensional trend. There is a conflict between nationality and Modernity in the inheritance and development of Tibetan opera. The controversy between closure and openness encounters bottlenecks in the process of "going out". The author visited some counties and cities in Sichuan Tibetan area, Aba Prefecture and Ganzi Prefecture, combined with the current situation of local Tibetan opera troupes and Tibetan opera culture, and in the context of communication, from five perspectives of dissemination subject, content, media, audience and effect, pondered how Tibetan opera broke through the encirclement and became a symbol of Chinese elements standing erect in the forest of world culture and art.

关 键 词：藏戏艺术 四川藏区 传播学 

分 类 号：J825[艺术—戏剧戏曲]