摘要
自20世纪90年代国外旅游表演研究转向以来,旅游表演已形成旅游研究的一种新理论域。旅游移动使旅游表演游离于旅游舞台与社会生活中,从表演到旅游表演的多维背景和研究转向呈现了不同于社会表演的旅游表演。旅游表演系统主要是“共在—共时—共创”的表演实践,这也体现在旅游前中后全过程中。旅游表演与游客凝视两种范式理论的不同,反映了旅游表演所包含的具身表演和旅游体验等内容。旅游表演场即旅游体验场,文化表演成为文化体验,合作表演时的“共睦态”则是“高峰体验”之时。旅游表演也是旅游体验的一种理解路径,旅游体验即一种有表演意义的具身实践体验,旅游表演的日常实践通过延长时间延伸了旅游体验并构建后旅游体验,但要注意规避其日常实践造成的旅游表演研究泛化问题。
Since the turn in performance abroad in 1990 s, tourism performance has become a new theoretical field of tourism research. Tourism mobility makes tourism performance dissociated from tourism stage and social life. The multi-dimensional background and research shift from performance to tourism performance presents tourism performance which is different from social performance. Tourism performance is mainly a performance practice of “co-existence, coevalness and co-creation” reflected in the whole process before, during and after the tour. The difference between the two paradigms of tuoursim performance and tourist gaze reflects such content as the embodied performance and travel experience and so on. So, the tourism performance field becomes a field of tourism experience, and the cultural performance turns into cultural experience, and the communitas in the co-performing of the hosts-guests is the time for the tourists’ peak experience. On the contrary, tourism experience is a kind of embodied experience with the performace significance;furthermore, the daily practice of tourism performance prolongs tourism experience by extending the time and constructs the post-tourism experience. However, it is necessary to aovid the generalization of tourism performance brought about by daily practice.
出处
《湖北民族大学学报（哲学社会科学版）》
CSSCI
北大核心
2022年第4期101-111,共11页
Journal of Hubei Minzu University：Philosophy and Social Sciences
基金
教育部学位中心项目“科技赋能文旅:基于数字云仓的普洱茶文化旅游消费升级”(ZT211067304)
国家社会科学基金一般项目“西南边疆小农户融入现代农业发展的实现路径研究”(19BGL168)
云南大学研究生课程项目“旅游人类学专题研究”(KCSZ202009)。
关键词
旅游表演
具身表演
表演场
旅游体验
日常实践
tourism performance
embodied performance
performative field
tourism experience
daily practice
