日本电视剧通过互联网在中国大陆传播现状

互联网已成为日本电视剧在中国大陆传播的新平台，但对该平台的研究却与其受关注程度不对等。日本电视剧通过互联网在中国大陆传播的主体是将日本电视剧上传至互联网的字幕组及个人，客体是通过互联网在中国大陆传播的所有日本电视剧，受众以日语学习者、偶像剧迷、年轻白领为主。日本电视剧通过互联网在中国大陆的传播具有先行快速便捷、客体数量庞大却制作不够精良、受众范围小、影响力大等特点，在中国的影响遍及语言、服饰、饮食、旅游等社会生活的方方面面，也面临着版权保护难度高、跨文化传播等问题。     

酬神潮剧与泰语潮剧——关于泰国潮剧的社会学反思

本文以中国潮剧在泰国本土化的两种形态——酬神潮剧和泰语潮剧为研究对象,探讨泰国华族与佬族是怎样在泰国潮剧这一场域中实现国家与社会地位关系的转变的,进而尝试分析潮剧如何超越国界与族群社区,在泰国多元文化结构中获得特殊的社会意义,同时揭示体现在泰国潮剧发展形态中的艺术与社会政治、不同文化、不同艺术传统之间的关系。     

A Life in Song

正Famed Chinese opera singer Hao Jiang Tian completes a special 30th anniversary recital From the opening notes of Hao Jiang Tian’s recital commemorating his 30-year career as one of the world’s most celebrated operatic bass voices,including 19 years at the New York Metropolitan Opera,the audience could sense it was one of the singer’s most personal performances.The teenage Chinese factory worker with a"big voice"was transformed into a king of Verdi and Mozart,taking listeners through a repertoire of classic Chinese folk     

President of Tanzania Visits China

正President Xi Jinping and President Jakaya Kikwete of Tanzania held talks on October 24.Xi welcomed President Kikwete’s visit to China on the occasion of the 50th anniversary of the establishment of diplomatic relations.He said that China     

空间互适共生视角下黔北傩戏永续传承体系的重构与路径研究

空间环境孕育和成就了文化,具有代表性的在地文化沉淀下来后,则成为环境的象征符号并反作用于空间环境。在设计少数民族传统文化在空间和环境中新的活动、形式乃至构成体系时,必须充分考虑尊重少数民族传统文化所生发的土壤,观照少数民族传统文化艺术形式的特征,尊重以黔北傩戏为代表的少数民族传统文化的历史文脉与当地空间环境交互的特点,才能使黔北傩戏的活力在新的时代焕发新的光彩。在开辟新的黔北傩戏传承思路时,应当以当代黔北傩戏的发展需求为要义,创造一个满足当代人对以黔北傩戏为代表的少数民族传统文化加深交互、产生需求的环境,利用当代媒介环境的需求来启发社会活动,并塑造与人的需求、文化的发展需求相适应的环境和空间。     

“Un nodo avviluppato”. Rossini’s La Cenerentola as a prototype of multimodal resemiotisation

ABSTRACT

Since its early beginnings in Italy in the sixteenth century, opera has always been a multimodal text, integrating verbal, musical, and stage resources. Verbal resources can be unpacked in lyric verse for vocal pieces in closed form, narrative verse or prose for recitative, and stage directions; musical resources include instrumental and vocal music, whereas stage resources incorporate stage design, singers’ and dancers’ kinesics, and set and costume arrangements. However, opera has been rarely studied in multimodal terms, as it has been mainly explored from musicological standpoints, hence prioritising music and barely taking into account the interplay of other resources. As a case study, epitomising the Golden Age of opera, La Cenerentola by Rossini has been selected, as it exemplifies how the theatrical and compositional conventions of the genre work concurrently with its metatextual components. Stage adaptations will be also analysed in two film operas, that is, Jean-Pierre Ponnelle’s La Cenerentola (Germany, 1981) and Carlo Verdone’s Cenerentola, Una favola in diretta (Italy, 2014). Opera will be interpreted as a prototype of multi-level resemiotisation, also in a critical light, as the libretto is resemiotised (1) as a musical composition; (2) as a mise-en-scène, and (3) as a film opera.     

台湾“老歌仔戏”：“小戏”向“大戏”的过渡形态

宜兰“老歌仔戏”源自闽南传入台湾的街头“小戏”,是歌仔戏最为初级、原始的舞台演出阶段.相较于车鼓戏等街头“小戏”,“老歌仔戏”的演出地点已由街头走向了舞台,演出内容已由表演片段发展为演出全本戏.它的表演形态与“小戏”所差无几,虽已少量吸收大型说唱文学的情节内容,但演出仍以表演歌舞而主,因而尚不能称为严格意义上的“大戏”,而是“小戏”向“大戏”发展的特殊过渡形态.     

Li Shaogang,Champion of?Folk Operas

正IN early April,when most Chinese people were mourning the dead on Qingming(Tomb Sweeping)Festival,Li Shaogang went on the road with two postgraduate students from Nanjing University to research folk operas in Heyang County.Li chairs the local Heyang Hop Opera association.     

浅谈虚拟艺术的真实感

戏曲艺术的虚拟动作,在舞台形象的塑造上起着十分重要的作用。虚拟手法的广泛使用,使得戏曲舞台呈现出一种特殊的演出风貌,它的作用已经超出这种手法本身,实际上是为戏曲艺术开辟了一条表现生活的独特途径——以虚拟手法创造的舞台艺术真实,反映了生活的真实。