Research On The Role Emotion Of Female Performers In Tourist Destinations In The Inheritance Of Intangible Cultural Heritage

With the development of destination tourism,local folk cultural activities have gradually moved towards tourism utilization with the intervention of foreign tourism capital.Women in the birthplace of intangible cultural heritage often participate in the inheritance and development of intangible cultural heritage activities through the social role of performers.developing.However,because a considerable part of my country’s intangible cultural heritage projects have different inheritance phenomena such as "passing on males and not females",tourism exhibitions not only break the gender boundary and directly bring women into the performance market,but also make female performers face the past.Male-dominated performers.In this process,the many role emotions generated by female performers will directly reflect whether female performers are integrated into and deeply involved in the process of folk culture tourism utilization,and whether the destination intangible cultural heritage projects have been developed in a balanced and harmonious manner.Therefore,taking the female performers in the tourism-oriented performance of intangible cultural heritage projects as the research object,to explore the elements and characteristics of their roles and emotions in the process of inheritance after being forcibly broken by the foreign capital of tourism.It provides suggestions and ideas for the positive emotional awakening of the tourism destination and the promotion of the harmonious and sustainable development of the tourist destination.In view of the above research questions,this paper selects female actors in Huayin’s old tune as the research object.Huayin Laoqiang is one of the oldest opera genres in Shaanxi.Not only is the traditional inheritance method typical of "passing on men and not women",but its own artistic style is more masculine,and gender differences are more pronounced among Laoqiang actors.outstanding performance.Therefore,taking the female performers in the old tune as the research object of character emotion has a certain typicality,which can profoundly reflect the role emotional performance,related characteristics and influencing factors of female performers in the inheritance process.This research uses the method of field research to conduct in-depth interviews with representative female actors in Huayin Laoqiang,and analyzes and summarizes through supplementary interviews with male actors,collected text data and other secondary data.,and finally came to the following conclusions:(1)The role emotions of female performers in tourist destinations are mainly composed of positive and negative emotions.Among them,positive emotions mainly include:(1)The sense of belonging caused by the acceptance of female performers by the performing group;(2)The subjective well-being brought by the social roles assumed by female performers to meet their own needs;(3)A sense of identity and emotional dependence rather than changing roles.(4)Negative affect mainly refers to the female performer’s sense of relative deprivation in realizing that she is in a disadvantaged position compared to male characters in the same environment.(2)Although the current Huayin old-style female performers have a high level of character emotion,they are shallow and unstable.They do not have a clear understanding of the core interests required to stabilize their social roles,and do not have the same level of performance in the performance market.The core competitiveness of male competition,not realizing the core role that women can and should play in the inheritance and development of Laoqiang.(3)The social forces composed of the government,the performance market,and tourists have shown the coexistence of tolerance and neglect for female performers,and as a result,female performers are limited to shallow positive emotions and negative emotions that hide crises.Women passively gain more performance opportunities and development space because of the withdrawal of male actors,but such passively obtained development opportunities have greater risks.(4)The collective environment faced by female performers is in the contradiction of being biased and not paying attention to the demands and opinions of women,but at the same time actively pushing them to the center of the stage.Although they are in fact gradually playing a more important role,they are still passive and awake in general,and they do not have much say in their own development direction.(5)Female performers pay more time and opportunity cost than males,but they value the unstable and intangible additional rewards brought by old-fashioned performances.This is because of the social roles assumed by female performers.Sexualized features are weakened under the male gaze,making them more amateurish and recreational in their social roles.(6)On the one hand,female performers have awakened a part of their female consciousness,able to recognize their differences with male performers,and no longer blindly pursue imitation of male voices and performance styles.But on the other hand,this kind of female consciousness is limited: it is embodied in accepting the traditional definition of women by men,not seeking fundamental and breakthrough changes in performance style,and not actively striving for the right to speak and make decisions in the performance market.rights,etc.Based on the above conclusions,this paper believes that the following measures can be taken to improve the emotional level of female performers: strengthen vocational training and form a professional training system for female performers;refine core characteristics and reasonably display gender characteristics;enhance profitability and increase the economic income of female performers.