A Study On The Visual Communication Of Quanzhou Marionettes From The Perspective Of Drama Semiotics

The gradual prosperity of people's material life and the rise of cultural brand headed by "Taobao in the Forbidden City" in recent years have aroused great concern for traditional culture.As a representative opera culture in southern Fujian,Quanzhou Line Puppet Show is the only puppet show that has been inherited for thousands of years without interruption.The unique sculpture and complicated manipulation skills make Quanzhou Line Puppet Show be titled "National Heritage" and "World Heritage”.At the same time,Quanzhou Line Puppet Show began to move to the world stage and gradually became the most frequent local opera in Quanzhou's foreign communication..From the perspective of theatrical semiotics,this paper used methods of participatory observation,in-depth interviews and text analysis to explore Quanzhou Line Puppet Show.By studying four aspects including puppet head modeling,puppet posture,costume accessories and postural movements,this paper analyzed symbolic components,categories,functions and rhetorical devices of Quanzhou Line Puppet Show.Through literature review,the stage structure is innovatively integrated into the visual symbols system in this paper and the differences of viewing and performing relationships under different stage structure forms are discussed.Then,this paper explored the the visual communication of Quanzhou Line Puppet Show.Finally,based on in-depth interviews,this paper discussed the problems in the process of inheritance of Quanzhou Line Puppet Show and gave out the relevant countermeasures.Through the analysis of the visual symbol system of Quanzhou Line Puppet Show,this paper reached the following conclusions: Firstly,the modelling visual symbols of Quanzhou Line Puppet takes shape,color,pattern and line as the basic units,which have the function of recognition,evaluation and decoration.Specifically,through the composition of puppet symbols,the role of puppet can be identified by its profession,age,gender,identity and status.Meanwhile,the audience can judge thecharacteristics of the role through the muscle tissue lines,shape and color of the instantaneous fixed-frame expression and some introverted symbols which do not mean any content but aim at form beauty.Secondly,the stylized action with "point" and "line" as the basic units of visual symbols produces meaning through the rhetorical devices of metaphor and metonymy.The production of stylized action is not only the simulation of normal life and the re-creation of dance to add its formal beauty and rhythm,but also the refinement and generalization of life at different levels through various artistic expression techniques such as abstraction and representation,experience and imagination.Thirdly,different structure of stage space produces different viewing and performing relationships.The fully open stage shape structure makes the audience alienate from the puppet and at the same time closes the distance between the audience and the performer.In the fully closed stage structure,the audience has a high degree of participation in the drama plot.While in the semi-open stage structure,the distance has an effect on the viewing relationship.At the same time,by studying the visual communication of Quanzhou puppets in forms of newspapers,television,movies and internet,this paper also found that the characteristics of image communication on different platforms are different.Among them,the network platform has the characteristics of multi-producer autonomous production and communication,diverse content forms,wide receiving range and strong interaction.