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作 者:张瀚哲 刘珺 Zhang Hanzhe;Liu Jun
机构地区:[1]中国戏曲学院艺术管理与文化交流系,北京100073
出 处:《艺术管理(中英文)》2024年第4期57-66,共10页Journal of Arts Management
摘 要:近年来,我国演出行业迎来了驻场演出的火热繁荣。驻演模式规避了传统巡演模式下拆装台时间、物流成本、场地要求等多方面限制,同时也更容易形成剧目的品牌效应等优势。驻演模式在许多海外演出市场中已经形成了成熟的、常态化的演出状态。而我国的驻演市场也经历了一段时间的发展,正在走向繁荣和成熟。当下,一些戏曲剧院团也开始尝试引入了剧目驻演模式,并通过近几年火热的“沉浸式”“环境式”演出概念的加持,树立了良好的演出品牌,也为戏曲艺术在当今时代的破圈提供了能量。In recent years,China's performance industry has ushered in a hot boom of resident performances.The resident performance mode avoids a lot of restrictions in traditional touring mode such as the limited time of load-in and load-out,logistics cost and the restrictions of different venue.And it’s easier to form the brand effect of the show.The resident performance mode has already formed a mature and normalized performance status in many overseas performance markets.China's resident performance market has also experienced a period of development,is moving towards prosperity and maturity.Nowadays,some Chinese Opera troupes have begun to try the resident performance mode.They established their own good brand image through the hot‘immersive’and‘environmental’performance concepts in recent years,and have helped Chinese Opera to promote itself in the current era.
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