媒介仪式的结构化与反结构化——评析央视春晚小品的叙事模式变迁  

The Structure and Anti-Structure of Media Rituals:Changes of Narrative Patterns in CCTV Spring Festival Gala Comedy Skits

作　　者：刘宏宇[1,2,3] 李婧文 白静 Liu Hongyu;Li Jingwen;Bai Jing

机构地区：[1]中国人民大学新闻学院 [2]中国人民大学新闻与社会发展研究中心 [3]德国波恩大学

出　　处：《复印报刊资料（新闻与传播）》2019年第6期5-18,共14页JOURNALISM AND COMMUNICATION

基　　金：中国人民大学“双一流”建设阶段性成果(中国人民大学马克思主义新闻观研究中心“马克思主义新闻观的思想源泉及发展路径研究”课题研究成果,项目号为:RMXY2016C018);中国人民大学2019年度“中央高校建设世界一流大学(学科)和特色发展引导专项资金”支持。

摘　　要：作为媒介仪式和戏剧表现的综合产物,在过去三十多年里,央视春晚小品借助戏剧化冲突的表现形式承担了具有鲜明时代特征的社会文化使命,其所采用的叙事模型和策略始终在发生着微妙变化。从总体上来看,上世纪末的春晚小品中对负面问题的介入手法体现出了媒介仪式在阈限阶段的反结构特征,以及戏剧中对于神圣逻辑的消解;新世纪初的春晚小品倾向于在冲突与和解之间引入叙事化过渡,并且用社群性因素改造仪式中的个人因素;而近年的春晚小品则尝试以“仿真矛盾”的方式再造理想的社会图景,进而强化仪式的结构化功能和戏剧的价值教育属性。As integrative products of media rituals and dramas,the comedy skits in the CCTV Spring Festival Gala are supposed to carry out social and cultural mission in the form of dramatic conflicts.The narrative models of the comedy skits have seen subtle changes in the past three decades.From 1980s to 1990s,the intervention of negative problems in the comedy skits reflected the anti-structural features of the media rites during the stage of limen,which conformed to the digestion of the sacred logic in the drama.While after 2000,the comedy skits tent to make a compromise between conflicts and harmony,modifying the personalization factors by introducing a solidary social community in the ceremony.In the last two years,however,the comedy skits were trying to resolve the conflicts and re-create an ideal social picture,strengthening the"structure"features in the media ritual and education functions of dramas.

关 键 词：春晚小品 媒介仪式 戏剧叙事 结构与反结构 “神圣逻辑”与“现实逻辑” 

分 类 号：I20[文学—中国文学]