作　　者： (袁爱清）; (孙强）;

机构地区： 江西师范大学传播学院,江西南昌330022

出　　处： 《浙江传媒学院学报》 2017年第4期112-116,148,共5页

摘　　要： 戈夫曼的拟剧理论诠释了秀场直播的复杂性。在秀场直播的前置场景中,情境下的表演存在定势框架的约束,在角色形象、表演形式、话语结构中有着标准化的人为预设痕迹。在后置场景中表演溢延现象造成日常个体角色的同化,在模糊界域中存在主体与他者的共谋性表演。研究发现,传播主体的表演心理驱力主要表现在幻想图式、自我价值、闲暇消遣的心理层面。传播主体实现他者性认同的关键在于通过塑造印象、角色赋权、维持情感的交互策略来实现传播的目的。解构网络秀场直播的表演行为,意在重塑个体对直播表演行为的认知。 Geoffman’s theory of opera interprets the complexity of live shows.In thepre-streaming phase of live broadcast shows,the performance in this context exists within the constraints of a fixed framework,with standardized man-madepresettraces within the role image,performance form,and discourse structure.The performance spills overto the post-streaming setting,causing the assimilation of the everyday individual character,with the collusive performance of the subject and others withinfuzzy boundaries.This study found that the performance psychological drive of a broadcasting subject mainly manifests itself in the psychological levels ofimaginativeschematisms,selfworth,and leisure recreation.The key for a broadcasting subject to achieve the recognition of otherness lies in realizing their broadcasting purpose by means of interaction strategies such as shaping impressions,the role of empowerment,and emotional preservation.By deconstructing the performing behavior in online live streaming shows,we mean to reconstruct the perception of the individual towards the performing behavior in live broadcasts.

关 键 词： 秀场直播 表演 驱力 交互