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十年前,我提出“雅俗分流”理论的时候,有人还不十分赞成。近三五年,民间小剧场二人转由城乡结合部转移到城市中心市场,而且由于“赵本山杯”的激励,媒体的炒作,报纸的宣传,竟然大火起来,出现“雅俗”不能“共赏”而且对垒的现象,这个“雅俗分流”的问题就更加泾渭分明了。近一个时期,这个“独特”的社会文化消费现象就被人们特别关注了,评价不一,褒贬对立,沸沸扬扬。日前,出于对二人转艺术的爱怜之心,我连续多次走进小剧场,和经纪人谈,和观众谈,和艺人谈,坐在观众中间感受一下,研究个究竟。
Ten years ago, when I put forward the theory of “diversion of elegance and vulgarity,” some people are still not quite in favor of it. In the recent three to five years, the two small private folk houses were transferred to the urban market by the combination of urban and rural areas. Due to the motivation of the “Zhao Benshan Cup”, the media hype and the propaganda of the newspapers, the two parties even went on fire. The phenomenon of confrontation, the “elegant and popular shunt” problem is even more completely different. In recent times, this “unique” phenomenon of social and cultural consumption has been paid special attention to people. The evaluations are mixed, the judgments are contradictory, and the discussions are heated up. Recently, out of love and compassion for the two-person art movement, I went into the theater several times in a row, talked with the brokers, talked with the audience, talked with the artists, sat in the middle of the audience, felt the research.