拟剧理论视阈下：广场舞群体的自我呈现研究

From the Perspective of Dramaturgy: A Study on the Self-Presentation of Square Dance Groups

摘要: 广场舞是当代中国最典型、最集中的群众性文化现象，参与者以集体方式运用身体来塑造特殊的自我场域。在戈夫曼拟剧理论视阈下，配合多个广场舞队的实地观察，对广场舞群体自我表现的实践及其意义做较完整的分析。研究指出，在“前台”中由程序性身体动作、仪式化集体的“集体欢腾”及对污名的应对性印象管理构成符号性表达，即以某种方式完成自我；在“后台”中又借助日常互动的感情资源、由家庭向公共角色的转化及网络联系，重新编织社会关系网络。上述自我呈现所依赖的动力来自集体记忆的延续、个体化时代的归属焦虑以及女性的主体意识。但社会污名与个体化问题同时存在，使得广场舞群体自我表达有“符号化认同”“情景性归属”与“污名化形象”三种悖论，需借公民的包容性达到从“自我呈现”到“社会认同”的跨越。

Abstract: Square dance is the most typical and concentrated mass cultural phenomenon in contemporary China, whose participants construct a unique public self-field through collective physical practice. Based on Goffman’s dramaturgical theory and field observations of multiple square dance teams, this paper systematically explores the practical forms and social significance of self-presentation among square dance groups. The research finds that in the front stage, square dance groups complete symbolic self-construction and realize self-expression in public scenarios through stylized physical movements, the collective effervescence generated by ritualized collective activities, and defensive impression management in response to social stigma. In the hidden back stage, groups reconstruct and expand their social network through daily emotional interactions, the identity transformation from private family roles to public social roles, and online social connections. Further research indicates that the self-presentation behaviors of square dance groups are rooted in the inheritance of collective memory, the sense of belonging anxiety in the individualized society, and the awakening of subjective consciousness among middle-aged and elderly women. However, the coexistence of social stigma and individualization creates three paradoxes in the self-expression of square dance groups: “symbolic identification”, “situational belonging”, and “stigmatized image”. An inclusive citizenry is required to achieve the transition from “self-presentation” to “social recognition”.