中国原创音乐剧市场现状与发展研究——以《赵氏孤儿》为例  

On the Market Situation and Development of Chinese Musical:Taking The Orphan of Zhao as Example

作　　者：马进[1] 朱慧子[2] MA Jin;ZHU Huizi(Hefei Early Childhood Normal Higher and Specialized School,Hefei 230013,Anhui,China;Anhui University,Hefei 230039,Anhui,China)

机构地区：[1]合肥幼儿师范高等专科学校,合肥230013 [2]安徽大学,合肥230039

出　　处：《景德镇学院学报》2024年第4期54-59,共6页Journal of JingDeZhen University

基　　金：安徽省级教学示范课项目(2020SJJXSFK2080);安徽省学前教育专业(专科)联盟项目(2020jyxm06450)。

摘　　要：20世纪80年代,中国原创音乐剧自西方引入,在几代优秀音乐创作人的精心培育、努力探索和不断创新中,得到了广泛的发展。中国原创音乐剧正逐渐摆脱既往由政府独家主导融资与扶持的生产模式,向更加多样化的投资和制作途径转变。代表性的案例便是近年来制作的音乐剧《赵氏孤儿》,其创作与运营的模式提供了一个审视中国原创音乐剧市场现状和预测其未来展望的案例。本文通过分析《赵氏孤儿》转变与优化创作和运营的策略的各项实践,探讨中国原创音乐剧市场的现状以及发展。In the 1980s,Chinese musical has achieved great development due to the meticulous cultivation,active exploration,and continuous innovation of generations of music creators since the musical was introduced from the west.Chinese musical has been moving away from the production mode dominated by the government's financing and support,and towards the one with diversified investment and production channels.A typical case of it is the musical The Orphan of Zhao produced in recent years.Its creation and operation model provides a window for examining the current market situation of Chinese musical and making predictions on its prospect.This paper discusses the current market situation and development of Chinese musical by analyzing the strategies of transforming and optimizing the creation and operation of The Orphan of Zhao.

关 键 词：中国原创音乐剧 《赵氏孤儿》 现状 发展 

分 类 号：J822[艺术—戏剧戏曲]