本文選題：《超級演說家》 + 電視演說節(jié)目　； 參考：《湖南師范大學(xué)》2016年碩士論文

【摘要】：2013年夏,全國首檔原創(chuàng)新銳語言競技真人秀節(jié)目《超級演說家》以獨樹一幟的演說創(chuàng)意、積極向上的精神能量及精良細(xì)致的節(jié)目制作,在娛樂化、同質(zhì)化電視節(jié)目大行其道的背景下成功突圍,不僅吸引了社會各界的熱切關(guān)注,還贏得了口碑與收視的雙豐收。它顛覆了觀眾以往的電視體驗,掀起一場嶄新的演說風(fēng)暴。與此同時,該節(jié)目也通過創(chuàng)造全新的表達(dá)語境和樣式形態(tài),為當(dāng)下的電視熒屏注入了新鮮血液,極大地推動電視節(jié)目內(nèi)容的多元化發(fā)展�！冻壯菡f家》的成功,從機(jī)構(gòu)視野來考量,它主要得益于電視行業(yè)的激烈競爭和內(nèi)容創(chuàng)新；從受眾層面來觀察,它是滿足人們提升口才和宣泄情感需求的產(chǎn)物；從社會語境來分析,它是社會走向開放民主和傳媒話語賦權(quán)的結(jié)果。在經(jīng)歷了探索、發(fā)展及成熟這三大階段后,該節(jié)目完成了從無到有、由弱變強(qiáng)的蛻變與成長。透過敘事學(xué)視角來解析,《超級演說家》的節(jié)目文本主要通過改進(jìn)敘事方法和敘事策略來達(dá)到最佳的敘事效果。從敘事方法來看,“暗隱”的大敘述者和“明現(xiàn)”的次敘述者構(gòu)建的敘事主體,完成了節(jié)目中行為的組織工作和信息的傳播任務(wù)。而借助聲音與畫面構(gòu)成的敘事手段,生動形象地呈現(xiàn)了節(jié)目內(nèi)容。從敘事策略來看,節(jié)目通過設(shè)置尖銳激烈的敘事沖突和扣人心弦的敘事懸念,使內(nèi)容富有強(qiáng)烈的藝術(shù)感染力,并增強(qiáng)了節(jié)目對受眾的凝聚力,從而優(yōu)化了傳播效果。通過網(wǎng)絡(luò)問卷調(diào)查,對《超級演說家》受眾的構(gòu)成現(xiàn)狀、使用行為及評價情況進(jìn)行考察,研究發(fā)現(xiàn),該節(jié)目的受眾群體主要由高學(xué)歷的女性學(xué)生構(gòu)成,而選手演說時引起的情感共鳴,是其倍受追捧的關(guān)鍵原因。面對日漸膨脹且多元化的受眾需求,《超級演說家》首先建立了別具一格的情緒“轉(zhuǎn)換場”,幫助受眾放松心情以逃避日常生活與工作的重壓,進(jìn)而滿足其心緒轉(zhuǎn)換的需求。同時它也以隱性的方式,潛移默化地滿足了他們在“擬態(tài)”及現(xiàn)實語境中的人際關(guān)系需求。除此之外,受眾還可以在觀看節(jié)目時,與其中的人物、事件、狀況、態(tài)度進(jìn)行勾聯(lián),從而協(xié)調(diào)或完善自身的觀念和行為,滿足自我確認(rèn)的需求。并在節(jié)目所營造的信息環(huán)境中,構(gòu)建與完善自己的知識結(jié)構(gòu),來滿足環(huán)境監(jiān)測的需求。最后,從宏觀的社會文化層面來看,《超級演說家》作為時下最具人文色彩的電視節(jié)目之一,它以演說的方式,淋漓盡致地彰顯了話語的力量。它還借鑒了真人秀的節(jié)目形式,為選手搭建了夢想舞臺。另外,該節(jié)目也通過豐富的個體勵志故事,向受眾充分傳遞正能量；并通過對時下社會熱點問題的思考、表達(dá)與探討,在一定程度上促進(jìn)了和諧社會的建設(shè)與發(fā)展。
[Abstract]:In the summer of 2013, the nation's first original new language reality show, Super Speaker, was entertaining with its unique speech ideas, positive mental energy and sophisticated and meticulous programming. In the background of homogenization TV programs, the successful breakthrough not only attracted the enthusiastic attention of all walks of life, but also won the double harvest of word-of-mouth and audience. It upended the audience's previous television experience and set off a new speech storm. At the same time, by creating a completely new context and style of expression, the program has injected fresh blood into the current television screen, greatly promoting the diversity of TV content. The success of Super Speaker. From the institutional perspective, it mainly benefits from the fierce competition and content innovation in the television industry; from the audience level, it is the product of meeting the needs of people to enhance their eloquence and vent their emotions; and it is analyzed from the social context. It is the result of the social trend towards open democracy and media discourse empowerment. After three stages of exploration, development and maturity, the program has completed the transformation and growth from the weak to the strong. From the perspective of narratology, the program text of Super orator can achieve the best narrative effect by improving the narrative method and strategy. From the point of view of narrative method, the narrator of "hidden" and the "secondary narrator" construct the narrative subject, which completes the organization of the program and the dissemination of information. With the help of the narrative means of sound and picture, the program content is vividly presented. From the point of view of narrative strategy, through setting up sharp and intense narrative conflict and gripping narrative suspense, the program makes the content full of strong artistic appeal, and strengthens the cohesion of the program to the audience, thus optimizes the communication effect. Through the network questionnaire survey, this paper investigates the current situation of audience structure, behavior and evaluation of super orator, and finds that the audience group of the program is mainly composed of female students with high academic qualifications. The emotional resonance caused by the contestant's speech is the key reason for its popularity. In the face of the increasing and diversified audience demand, Super orator first established a unique emotional "transition field" to help the audience relax to avoid the pressure of daily life and work, and then meet the need of mood change. At the same time, it also meets their interpersonal needs in mimicry and real context in an implicit way. In addition, the audience can also connect with the characters, events, situations and attitudes when watching the program, so as to coordinate or perfect their own ideas and behaviors to meet the needs of self-identification. In the information environment created by the program, we construct and perfect our own knowledge structure to meet the needs of environmental monitoring. Finally, from the macro social and cultural level, as one of the most humanistic TV programs, the super orator shows the power of discourse vividly and vividly in the way of speech. It also draws lessons from the reality TV program form, for players to build a dream stage. In addition, the program also through a wealth of individual inspirational stories, the full transmission of positive energy to the audience; and through the current social hot issues of thinking, expression and discussion, to a certain extent, to promote the construction and development of a harmonious society.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：G222

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 鄭潔;;語言競技類節(jié)目中電視技術(shù)烘托電視節(jié)目藝術(shù)——以《超級演說家》為例[J];視聽;2015年10期

2 趙丹;;《我是演說家》第二季用情懷打動觀眾[J];中國廣播;2015年10期

3 吳樾;;網(wǎng)絡(luò)時代下口語傳播者的思考——從《奇葩說》《演說家》談起[J];新聞傳播;2015年15期

4 原芳純;;傳播視野下的《超級演說家》[J];新聞研究導(dǎo)刊;2015年14期

5 黃瑾;;網(wǎng)絡(luò)自制節(jié)目與電視節(jié)目的差異化發(fā)展——以《奇葩說》和《超級演說家》為例[J];新聞研究導(dǎo)刊;2015年14期

6 李梨;;從《超級演說家》看演說類電視節(jié)目的創(chuàng)意與策劃[J];視聽;2015年07期

7 郝君怡;;《我是演說家》與《奇葩說》的人物設(shè)置差異[J];當(dāng)代電視;2015年07期

8 李夢潔;;以《超級演說家》看綜藝節(jié)目的觀眾價值需求[J];青年文學(xué)家;2015年18期

9 周唯;;論中國首檔原創(chuàng)語言真人秀節(jié)目《超級演說家》的成功之道[J];戲劇之家;2015年09期

10 彭鵬;;《我是演說家》:原創(chuàng)不輸“拿來”[J];中國廣播電視學(xué)刊;2015年05期

相關(guān)重要報紙文章 前2條

1 趙志偉;;電視演說節(jié)目不應(yīng)有表演而無內(nèi)涵[N];中國藝術(shù)報;2015年

2 鐘岳;;《我是演說家》：開創(chuàng)“演說”新時代[N];光明日報;2014年

相關(guān)碩士學(xué)位論文 前10條

1 陳欣;電視辯論節(jié)目的敘事學(xué)研究[D];蘇州大學(xué);2013年

2 袁舒怡;《中國好聲音》的敘事學(xué)分析[D];暨南大學(xué);2013年

3 康蕾;湖南衛(wèi)視戰(zhàn)略研究[D];復(fù)旦大學(xué);2010年

4 張彬;省級衛(wèi)視電視劇戰(zhàn)略發(fā)展探析[D];山東大學(xué);2009年

5 張中乾;中國敘事型電視談話節(jié)目敘事研究[D];南昌大學(xué);2008年

6 高筱潔;中國電視表演選秀真人秀節(jié)目敘事研究[D];西北大學(xué);2008年

7 羅攀;中國省級衛(wèi)視定位研究[D];河南大學(xué);2007年

8 謝玲;電視真人秀節(jié)目的敘事研究[D];重慶大學(xué);2007年

9 陳睿佳;中國“真人秀”節(jié)目敘事范式探究[D];浙江大學(xué);2006年

10 呂晴春;電視談話節(jié)目的敘事學(xué)研究[D];暨南大學(xué);2006年

，

本文編號：1791742