接受心理视域下小语种摇滚音乐剧创作路径探赜

Creative Path of Rock Musical Play in Minority Language from the Perspective of Receptive Psychology

2017年,法语音乐剧《摇滚莫扎特》第一次来到中国巡演,广受中国观众的欢迎,也让“摇滚”系列音乐剧成为中国剧迷关注的焦点。这部剧似乎为中国音乐剧行业带来了短暂的春天,但如何使“好景”常在才是更大的议题也是时代的考验。文章聚焦于此,以《摇滚莫扎特》《摇滚红与黑》《摇滚浮士德》三部音乐剧的引进为线,从审美理论出发,试图厘清三者与大众市场回馈的关系。通过对“摇滚”系列剧目样本的研究,文章梳理其在中国市场赋魅与祛魅的过程,探索小语种音乐剧在制作与宣发中观众的接受心理,思考中国在音乐剧剧目引进过程中的文化过滤与文化选择。

In 2017,the French musical play“Mozart l'opéra rock”came to China for the first time and was widely welcomed by Chinese audience,making the series of“rock”musical plays the focus of Chinese theater fans.“Mozart l'opéra rock”seemed to bring a brief spring to the Chinese musical play industry,but how to keep the“good times”constant is a bigger issue and a test of the times.This essay focuses on this issue,taking the introduction of three musical plays,“Mozart l'opéra rock,”“Le rouge et le noir-L'Opéra Rock,”and“Faustus Rock,”as the thread,,and trying to clarify the relationship between the three and the feedback from the general market starting from aesthetic theory.Through the study of samples from the“rock”series,the process of their enchantment and reshaping in the Chinese market is sorted out,exploring the audience's receptive psychology in the production and promotion of minority language musical plays,and considering the cultural filtering and selection in the process of introducing musical plays to China.