连续性情绪体验与整体化情感空间——对中国传统音乐舞台化表演的学理反思  

Continuous Emotional Experience and Holistic Emotional Space:A Theoretical Reflection on the Stage Performance of Traditional Chinese Music

作　　者：丁博 杨曦帆 DING Bo;YANG Xifan

机构地区：[1]哈尔滨音乐学院音乐学系 [2]大连大学音乐学院

出　　处：《中央音乐学院学报》2024年第3期139-151,共13页Journal of The Central Conservatory of Music

摘　　要：基于当下国内旅游事业的发展,“文旅融合”已成为“非遗”发展的新思路。针对各类传统音乐经包装、美化登上舞台为旅游助力的现象,学者们以往多从经济利益、文化本真性、文化传承发展角度予以分析、论述。然而,对于以感性为主体的人而言,传统音乐登上舞台最大的问题在于具有机制化的舞台规则与舞台流程撕裂了文化持有人的连续性情绪体验与整体化情感空间。因此,论文借鉴欧文·戈夫曼(Erving Goffman)的“前台”“后台”理论与理查德·谢克纳(Richard Schechner)的“社会表演”理念,提出建构一种具有“连续性情绪体验”和“整体化情感空间”的新型传统音乐舞台表演模式。Based on the current development of domestic tourism,“integration of culture and tourism”has become a new idea for the development of“intangible cultural heritage.”In response to the phenomenon of various traditional music being packaged,beautified and performed on stage to promote the tourist industry,scholars have mostly analyzed and discussed it from the perspectives of economic benefits,cultural authenticity,and cultural heritage and development in the past.For people who are primarily emotional,however,the most serious problem with traditional music on stage is that the institutionalized stage rules and processes tear apart the continuous emotional experience and holistic emotional space of cultural holders.Therefore,this paper proposes to construct a new model for traditional music stage performance with“continuous emotional experience”and“holistic emotional space”by drawing on Erving Goffman's theories of“front region”and“back region”and Richard Schechner's concept of“social performances.”

关 键 词：人类表演学 戏剧论 社会表演 审美表演 羌族传统音乐 

分 类 号：J607[艺术—音乐]