The Aesthetic Rheology Of Contemporary Chinese TV Situation Comedy

TV situation comedy as imports has had a development history of more than ten years in China. It has experienced a long course from reference and imitation to Chinese domesticalization, nationalization and localization. Situation comedy as a TV art form not only has the characteristics and superiorities of TV drama but also creatively mixes humor and amusement with situation comedy and brings a complete-new audio-visual grand banquet to audience.This article aims at understanding in an all-round way the outstanding characteristics and aesthetic change of representative works of different ages in theme, content and technique of expression through combing the development train of thought of TV situation comedy and analyzing the representative works of Chinese TV situation comedy. I Love My Family is praised as the founder of Chinese TV situation comedy and the director of the comedy is called"father of situation comedy". In the development history of Chinese TV situation comedy, I Love My Family may be called a forerunner of Chinese TV situation comedy but its appearance was not ratified and welcome immediately by the audience and the audience even failed to accept such a complete-new TV form in a length of time. At the beginning of 1990s, TV series with continuous plot and manifestation of society and life feeling occupied the aesthetic line of vision of audience so that the audience formed fixed aesthetic pattern and acceptance custom. With the frequent broadcasting of I Love My Family on the TV stations in various places, the audience came out of the aesthetic ivory slowly. It adopts humorous language of Chinese style and portrays the cartoon figure images of caricature type and, by relying on story plot with epochal characteristics and good reference of foreign situation comedy, brings a audio-visual grand banquet to the audience of Chinese TV audience.With the appearance of aesthetic tide of everyday life and popular culture becoming a universal aesthetic phenomenon, dialect situation comedies with dense local feature were performed on television like bamboo shoots after a spring rain and rapidly became a pastimes and amusement of people after dinner. Dialect situation comedy mixes the language with regional culture with the novel program style of situation comedy so that it has the aesthetic custom and feature of other kind. Dialect situation comedy presents very strong comedic effect and artistic charm in language innovation, choice of theme and image portray. Viewed at the angle of aesthetics, the situation comedies of such period strived to bring the feeling of freshness to audience in language and artistic expression form and realized the breakthrough and innovation from traditional situation comedy. The main representative works of such period were Idler Elder Sister Ma of Beijing sect, Mother's Uncle of Shanghai sect, External Wife and Local .Husband of Guangdong sect, etc.. They vividly and figuratively presented local conditions and customs as well as manner and convention with the situation comedies of different regions, different styles and different cultures before the audience, brought different aesthetic experience to audience to make them fully appreciate the peculiar charm of Chinese TV situation comedy. From the hot broadcasting of I Love My Family to the popularity of dialect situation comedy, TV situation comedy successfully took the first step of aesthetic change, i.e., development from traditional situation comedy to multi-elemental one, and numerous sects thus brought up very greatly richened the aesthetic connotation of Chinese TV situation comedy and pushed forward the development progress of TV situation comedy.Innovation is the soul of art and continuous birth of unusualness and freshness is the important motive force for the development of TV situation comedy. Though dialect situation comedy realizes the multi-elemental development of aesthetics, there are still many limitation for itself. Works .External Story of Martial Art Circles with greatest breakthrough appeared on television in 2005 and broke the aesthetic limitation brought up by dialect situation comedy. IT pushed TV situation comedy to another peak. Its old creation setup aimed the theme at martial art circles where they never set foot, and its language absorbs"No Centi-head"element of Zhou Xingchi movie, rather with the color of hind modernism. New"fetching-here Doctrine"in form all the more mixes itself with the elements of chapter couplet style, network, fashion and national music instrument to give you a new enjoyment. The hind modern aesthetic characteristics possessed by External Story of Martial Art Circles provided new content and form for the consumption aesthetics of audience. Situation comedy gradually took the road of aesthetic consumption.Contemporary Chinese TV situation comedy has experienced the aesthetic rheology from reference and imitation to complete set of itself, from traditional pattern to multi-elemental development and then to innovation. Through detailed exploration of the aesthetic characteristics of representative works of different periods, this article attempts to present the whole change and development course of aesthetics of contemporary Chinese TV situation comedy in an all-round way, so as to make the readers more deeply understand TV situation comedy. At the same time, in the course of development of TV situation comedy, we must clearly realize the shortage and imperfection of ourselves as well as the numerous difficulties and intense competition faced by us, strengthen the sense of innovation, continuously push forward the process of industrialization of TV situation comedy and realize spanning-type development.