论文部分内容阅读
作为国内第一部大型室内连续剧,《渴望》坦率而可贵地认可和确立了自己大众艺术的品位,从而将它制作方式上的许多“劣势”转化为了创作的优势.摸索和把握了大众艺术的特殊创作规律,使《渴望》真正面向和走向了广大的“上帝”——观众,从而也成为观众心中的宠儿.大众艺术是一种广义的艺术.因而《渴望》的轰动性接受效应,决不仅仅是因为它的艺术性.《渴望》热还有更为广泛的社会学、伦理学、心理学和文化学的背景.所以,对《渴望》乃至整个大众艺术的认识,应该从审美的天地中走进更为开阔的社会文化视野中.《渴望》的大众化,就其自身而言,它将日常性与戏剧性相统一、伦理性与娱乐性相统一,也许是它获得成
As the first large-scale indoor drama series in China, “Longing” frankly and preciously recognized and established the taste of its own mass art, transforming many of its ways of making “disadvantages” into the advantages of creation.Finding and grasping the general public The special rules of art of creation make “longing” really face and move towards the broad masses of “Gods” - the darlings of the audience, thus forming a broad art, so the sensation of “longing” To accept the effect is by no means merely its artistry, but “craving for it” has a wider context of sociology, ethics, psychology and culture, so understanding of “cravings” and of the entire mass art should From the aesthetic world into a more open social and cultural vision of the “desire” of the popular, for its own purposes, it will be a combination of everyday and theatrical, ethical and entertaining unity, perhaps it is obtained