现场社交:戈夫曼拟剧视域下的剧本杀现象考察  

Live Socialization:An Investigation of the Live-Action-Role-Playing-Game Phenomenon from the Perspective of Goffman’s Dramaturgical Theory

作　　者：罗长青 Luo Chang-qing(Faculty of Chinese Language and Culture,Guangdong University of Foreign Studies,Guangzhou 510420,China)

机构地区：[1]广东外语外贸大学中国语言文化学院,广东广州510420

出　　处：《贵州师范大学学报（社会科学版）》2023年第6期148-156,共9页Journal of Guizhou Normal University(Social Sciences)

基　　金：国家社科基金一般项目“中国当代少数民族文学史编纂中若干基本理论问题研究”(19BZW173)的阶段性成果。

摘　　要：从戈夫曼拟剧理论的角度来看,剧本杀现象的本质是互联网时代社交媒体倦怠背景下的现场社交重启。作为文学和游戏的聚合体,剧本杀以“角色扮演”为核心,汇聚“前台”表演和“后台”交流,融合真实与虚构、现实与理想元素,从而提供丰富而有趣,且互动性强的社交体验。多样化的剧本类型能够满足不同玩家的“剧本期待”。玩家们组成社交表演“剧班”,在特定“区域”共同完成解密“剧情”任务。主持人担任游戏引导人和监督者,同时以非玩家角色参与游戏。玩家需要遵循“忠诚”“纪律”和“谨慎”的准则参与表演,尽可能地平衡“社会化自我”与“个性化自我”关系,通过“理想化”“误解”“神秘化”“补救”等措施来塑造社交形象。From the perspective of Erving Goffman’s Dramaturgical Theory,the essence of the phenomenon of Live Action Role Play Games is the restart of live socialization in the context of social media burnout in the post-Internet era.As an aggregation of literature and games,LARP games focuses on“role-playing”and brings together“front-stage”performances and“back-stage”communication,integrates real and fictional,realistic and ideal elements,and provides rich,interesting and interactive social experience.Diversified types of scripts can meet the“script expectations”of different players.Players form a“drama troupe”and work together in a specific“area”to complete the task of deciphering the“plot”.The Dungeon Master as a game guide and supervisor while participating in the game in a non-player role.Players are expected to participate in the performance according to guidelines of“loyalty”,“discipline”,and“discretion”.They need to balance the relationship between the“socialized self”and the“individualized self”as much as possible,and use“idealization”,“misunderstanding”,“mystification”and“remediation”and other ways to shape social image.

关 键 词：剧本杀 拟剧理论 互联网时代 现场社交 新世纪文学 

分 类 号：I209[文学—中国文学]