Research On The Space Production Of Large-scale Live Performances In Tourist Destinations

The traditional theory regards space as a static container,and only focuses on the production of things in space,while ignoring the production of space itself and its internal relations.In 1974,the French neo-Marxist philosopher Henri Lefebvre put forward the theory of "space production" in his book "The Production of Space".He believed that social space was not an objective thing,but a product of society,and each mode of production and life had its own unique life space.Lefebvre put forward the "triadic dialectics of space production",including the practice of space,the representation of space and the space of representation,which broke through the traditional position of binary opposition metaphysics.Based on Lefebvre’s theory of space production,this paper takes large-scale real performance in tourist destinations as the research object to explore its space production mechanism,and carries out research from three aspects: perceived material space,conceived cultural space and reconstructed living space.The research sample of this paper traces back to the large-scale live performance Impression · Liu Sanjie,performed by Mei Shuaiyuan,Zhang Yimou,Wang Chaoge and Fan Yue in Guilin,Guangxi in 2004,which opened up a new situation for the creation of large-scale live performances in China.Since then,different types of tourism performance products have emerged,such as "Peach Blossom Land","Princess Wencheng" and "Zen · Shaolin",which have attracted great attention from the government,enterprises and society.Culture and space are inextricably linked.They are physical containers that carry human practical activities,and also reshape social production relations and the process of production activities.As a typical stage art of cultural and tourism integration,large-scale real scene performance concentrates the characteristic culture of tourism destination,as an organic part of tourism resources,and forms one of the core categories of cultural space.Based on the research results of semiotics and culturology,using the relevant theories of foreground and backstage,stage reality,and taking the "three dimensional dialectics of space production" as the starting point,this paper explores the content production rules of large-scale live performances,and looks forward to the possible trend of large-scale live performances in the future.The main conclusions of this study are as follows: The perception of the material space of large-scale live performance has a brand new change,breaking through the original perception mode,and the interaction of the host and the guest builds a brand new audience experience;Enabled by technology,material space forms the effect of virtual and real elements breaking dimensional superposition,making immersive experience and three-dimensional activation of cultural resources possible;Multiple subjects participate in the production process,so that the local culture forms a systematic symbol system,and the construction of artistic imagination beyond reality;Form the transcendence of material space and cultural space,and strengthen the audience’s spiritual experience.