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Bakhtin saw carnival as a form of expression of the pursuit of democracy and equality. At present, carnival has become a way for people to release themselves in cyberspace, similar to the carnival square in the Middle Ages, which showed a unique openness and inclusiveness, and became a second world accompanied by real space.
Carnival is "a second life, in which people throw away their original and established image and temporarily change their image in a way different from normal, thus forming the illusion of subversion."
With its strong interaction and participation, the talent variety show has become an entertainment way for people to relax and decompress, and enter the carnival square to become the main body of the carnival. Bakhtin's carnival theory transcends time and space distance, helping us better analyze the carnival world constructed in talent variety shows.
Carnival theory believes that carnival, as the origin of the entire theory, can best highlight the equal and free form of dialogue in the theory, and the reason why this form of dialogue exists in development is based on the platform or space on which it depends and exists. In Let's Go Live! In the "Huacai Youth" program, whether it is in the production of the program or in the broadcast, the carnival can be reflected.
Language, barrage, etc. are all interactive behaviors with carnival colors, and the high degree of interaction of the Internet is also a necessary condition for the participation of the whole people of carnival. "Barrage" is not only an expression of the audience participating in the carnival, but also the main way for the audience to actively communicate in the process of participating in the carnival.
The openness of the barrage function provides conditions for the national carnival, and the audience only needs to watch the program through simple operations, and users can log in to the video website through their mobile phones to express their opinions. Carnival exists in a square separated from reality, in which power is temporarily removed, equality is achieved for all, and voices and voices are released.
In Bakhtin's carnival theory, the concept of the square is not single, there are concrete and abstract, the figurative carnival square refers to the square, church and other public places, and the abstract square can be understood as a digital platform, etc., although there is no square entity but assume the function of the square.
The abstract square focuses more on the participants in the square, which means that people can freely act in the square, which is a free and unconstrained state. Whether abstract or figurative, in Bakhtin's carnival theory, only the square can be the center of the carnival.
The most important point is that the square has a national character, in the carnival of national participation, all kinds of people can gather and communicate, everyone will not lose their right to speak because of identity, class, age, etc. Different from the carnival world of real space, the identity of all people has changed, from onlookers to participants.
The establishment of Carnival Square is completed by the role of everyone in the square, but for the variety talent show, the production team has taken on more responsibilities for establishing Carnival Square, so as to realize multiple dialogues between the real world and the carnival world.
Giving and transforming – the creation of Carnival Square
Bakhtin believes that the basis of carnival lies in the number of participants, and the effect of two people's carnival square and two hundred people's carnival square is very different, and the participation of the whole people is the most basic feature of carnival square.
"There is no grand procession here, and the people should pray and be amazed when it approaches; There is only one sign here: everyone can fool around and go crazy, do whatever they want, and there is almost nothing that is not allowed except to fight and use knives" The empowerment of power and the transformation of identity in the show bring more viewers to the Carnival Square.
In Let's Go Live! In the "Huacai Boys" program, every viewer has become an online officer, and the audience can decide which teenager to attach the bonus value to. Different programs have different names for the audience, which is both a empowerment and a transformation of the audience's identity and a consolidation measure for the audience.
"Youth with You" calls the entire audience "national producer", and "Creation 101" sets the title of "founder of the girl group", these behaviors are ritualized positioning of the audience's identity, the purpose is to accurately locate the target group and consolidate the audience, the empowerment of identity makes the relationship between the audience and the program more solid, and also makes the audience of each program become the participants and creators of Carnival Square.
"All carnival literature, all carnivalized literature, have a common characteristic, that is, it has a deep connection with the folk carnival and the unique world feeling of the carnival" In order to form a correct understanding of Bakhtin's carnival theory, it is necessary to clarify the three basic concepts of carnival, carnival style and carnivalization.
Carnival is the origin of the entire carnival theory, the specific performance of carnival is reflected in the activities of carnival, is the ritualization of the development of carnival, carnival is a literary form expressed under the joint action of carnival and carnival, the spirit of carnival through carnival-style ritualized activities, and finally formed carnivalization.
Carnival theory emphasizes that carnival has a certain ritual, and people temporarily and symbolically realize their dreams of trying to change their status and destiny and have wealth, power and freedom through various rituals such as uncrowning, coronation, makeup, and wearing masks at carnival. In Carnival, essential ceremonial activities are coronation and uncrowning.
Bakhtin, according to the most prominent characters in this ceremony, are the clowns and fools, and at the carnival, the clowns and fools receive costumes and crowns symbolizing the king, but this coronation is not permanent, and changes in the real world affect them. When the clown and fool recover themselves, all foreign objects are removed when they are uncrowned, so coronation and uncrowning have a duality.
In the carnival, everyone wears the mask they want, but when the carnival ends, they must take off their masks and return to the real world, facing the constraints and loneliness of the real world.
In the talent show, the whole process of coronation and uncrowning is accompanied by the audience, who is the clown and who is the king depends on the subjective initiative of the audience. Let's go live! Huacai Junior adopts two selection methods, online and offline, and the upper line officials set the color value for the teenagers according to their performance, and the higher the color value, the higher the ranking.
In the first program, contestant Liu Feng brought a song "Hometown is Beijing", which combined opera and rock, won 4 bonus values, and became one of the leaders of 6 creative groups. Liu Feng also won super attention with his excellent appearance conditions and gentle and elegant temperament, and gained many fans.
At this stage, super high attention, excellent results, and direct promotion to the upper line area are all costumes and crowns that he was crowned in Carnival Square. In the tenth phase of the competition, Liu Feng failed to advance, ended the competition and returned to the real world, and the add-ons at the time of the coronation were also removed, and he was featured in "Go Online! In this carnival square, his coronation and uncrowning ceremony officially ended.
In the activities of the carnival, there are conventional rituals, embodied in symbols, scenes, language. In Bakhtin's formulation, the term is merely a poetic expression: "Everyone lives in it, there is no distinction between subject and object, no stage, no foot lamp, no actor, no audience... This is another form of freedom (arbitrary) that shows one's existence.
Carnival symbols are divided into visual symbols and cultural symbols. In terms of visual symbols, the colors in the program logo, stage lighting and promotional posters are all selected from the ten colors of the opera, which coincides with the national style of the program's positioning.
Let's go live! The logo of "CADENZA" is composed of "Go Live, Cadenza Boy" and "BRAVOYOUNGSTERS! Two parts, of which the four characters "Huacai Youth" are the main part of visual presentation. The four-character font style of "Huacai Youth" is brush calligraphy, and the colors are blue, purple, red and yellow as the main colors, and elements such as satin, auspicious clouds, and seals are added in the subtleties that can refer to traditional Chinese culture.
In the cultural symbols, the program is positioned with "national style", the whole program is a display and innovation of traditional skills, and at the same time, in the program, the online official Wang Peiyu, as a professional Peking Opera actor, popularizes many traditional skills while making professional comments.
In carnival ritual activities, a clear hierarchy is reflected, and hierarchy as a kind of ritual is a constraint on carnival activities and also stimulates the atmosphere of carnival square. Let's go live! The program establishes a carnival square for the audience, in which the subjects create and observe the ritual framework in the square, and the subjects who seek the same point of view stage a group carnival.
The division of grades is reflected in all aspects of the program, and there is also a division of grades in the stage design of the program. The stage design of the program is divided into the main stage, studio, guest seats, and live audience seats. Each contestant walked from the backstage studio to the front desk and began the performance after the host's introduction, a process that embodies the solemn and solemn carnival ceremony of the carnival.
The audience seats and the on-line area are located directly opposite the stage, and after the competition, the on-line officers and the audience add color to the contestants, and this simple division of areas reflects the ritual sense of each carnival act in the carnival square.
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