摘要
随着大众消费社会的形成,民族文化中的歌舞艺术因正好契合旅游者的符号消费需求而成为一种具有符号意义的文化商品。文章以九寨沟藏羌歌舞表演《高原红》为例,从符号学角度出发,分析了《高原红》舞台表演的符号化生产逻辑及其特征,指出为迎合旅游者的"符号化"消费欲望而生产出的民族文化表演,其原生性的符号所指已经完全被消解,经过取舍、改装之后的再生性符号能指则成为民族文化旅游生产及消费的共同指向。
With the formation of the mass consumption society, traditional songs and dances of ethnic culture just meet the con- sumer demand for symbolic consumption, thus become a kind of cultural goods with symbolic meaning. This paper, taking Gao Yuan Hong （a Tibet and Qiang＇s song and dance performance in Jiuzhai Valley） as an example, analyzes the process of symbolic production and the characteristics of stage performance from the perspective of semiotics and points out that ethnic cultural tourism stage perform- ance with native signified meaning is created, to meet consumer demand for the symbolic consumption, in which the original signifier has been dismantled, selected and regenerated, and the new signifier becomes the production for ethnic cultural tourism consumption.
出处
《西华大学学报（哲学社会科学版）》
2011年第6期31-34,共4页
Journal of Xihua University(Philosophy & Social Sciences)
基金
2011年西南民族大学中央高校专项项目"四川民族地区文化旅游产业化进程中的利益分配问题研究"(11SZYTD18)的资助
关键词
符号化生产
民族旅游
舞台表演
高原红
symbolic production
ethnic tourism
staged performance
Gao Yuan Hong
