摘要
中国中央级的电台和电视台的体育节目播音员、主播有其稳定的风格特征。新世纪以来电视体育主播出现了表现个性的倾向,而反崇高的文化惯性造就出体育主播的丑角类型。丑角类电视体育主播并不属于传统传播学意义上的正面式角色或隐形人的类型。个别丑角型体育主播解说体育的言论已达到了对语法规则、逻辑概念、空间意识、知觉世界以及社会规则的破坏程度,并构成了对观众的戏弄性局面。而这类丑角在大众传媒中的表演并不具有表演学意义的滑稽之美,而仅具有个人癫狂学的征象。体育主播中同样需要丑角类风格,而娱乐界丑角文化的风行加速了体育主播的角色分化,导致部分体育主播朝丑角类主播方向转型。即便在丑角学的场域内,体育主播也需要高度自律。电视和网络的结合直接催生出了中国历史上影响最大的丑角群体。丑角主播现象是体育节目的非常态延伸。此类丑角仅是大众媒介领域内东方式狂欢的替代品。丑角有其必然的发展极限,在介于理性和非理性的价值选择之间,民众永远青睐理性化主播风格。
CCTV sports anchors have their steady styles. However, since the beginning of the new century there has been a tendency for some of them to be individually minded, and in this anti-orthodox trend they like to clown. Some even go so far as to undermine grammar, logic, people＇s perception of space, understanding of the world, and even the social order. Sometimes the audience are teased. This kind of clownish performance in mass media lacks the beauty of a comedy, and only vents personal madness. Sports anchoring needs the clown kind of style and the popularity of clowning in the entertainment world has accelerated the transformation of sports anchors to clown-type ones. However, even when clowning, the sports anchor still needs self-discipline. The combination of the television and the Internet has directly given rise to the biggest clown cluster in the history of China. The clown-anchoring phenomenon is the anomalous extension of the sports programs on TV. These clowns are no more than a substitute for the oriental carnival in mass media. The clown-style anchoring has its limits, and between rationality and irrationality, people always favor the former, in the final analysis.
出处
《南京体育学院学报（社会科学版）》
2013年第2期50-58,共9页
Journal of Nanjing Institute of Physical Education
