The convergence of interactive short video and theater creation: user participation in narrative reconstruction

The creative fusion of short video and drama presents the characteristics of multi-channel fusion in terms of diffusion channels, which together help the further diffusion of drama short videos. The diffusion channels of innovation mainly have two ways: interpersonal communication channels and mass communication channels. Among them, the mass communication channel is the main channel for the audience to recognize the innovation, while interpersonal communication is an important means to influence the change of the audience’s attitude. Therefore, in order to study the integration of short video and drama creation, this paper first starts from the creative diffusion channel of drama. Through the collection of statistics on drama diffusion data, the distribution of user participation in drama-type creation is shown in Figure 1, where L1~L6 are consulting platforms (L1), social platforms (L2), traditional media (L3), friends’ sharing (L4), comprehensive video platforms (L5), and short video platforms (L6). There is a difference in the distribution of communication channels for drama creation in terms of age distribution, with those under 26 years old mostly using comprehensive video platforms and short video platforms as communication channels, and the combined weight of the two communication channels exceeds 50%. While users over 26 years old have a higher proportion of friend sharing and video platforms as communication channels.

Figure 1.

User participation distribution

In order to further analyze the exposure channels of different audience age groups, this paper will watch the channel’s for the chi-square fit goodness-of-fit test to analyze whether there is a difference in the proportion of the choice of each option, if P<0.05, it means that the rejection of the original hypothesis that there is no difference, and the proportion of the choice of each option has a significant difference. The results of the chi-square fit goodness-of-fit test are shown in Table 1, and after analysis, according to the multiple response frequency analysis table, the significance of the chi-square fit goodness-of-fit test of each communication channel is 0.000***, with a P-value less than or equal to 0.05, α = 0.05 when the level of significance is presented, and the rejection of the original hypothesis implies that the comparison of the proportion of choice of each option presents a significant difference, and that it is not evenly distributed.

A comprehensive analysis shows that there is no more obvious selection tendency for the age group over 25, but it can be seen that no matter which age group, mass communication is the most important communication channel, in which video platforms and short video channels play an important role. Especially in attracting young audiences new media has significant influence.

Communication effect is the core advantage of short videos, in order to study the impact of interactive short videos on drama creation, this paper “use and fulfillment” theory, the user participation needs are divided into five main aspects, namely, cognitive needs, emotional needs, personal integration needs, social integration needs and pressure relief needs. Considering the complexity and practicability of the research sample, the five needs are integrated to form the cognitive, social and recreational needs.

In this study, the Likert five-point scale was used as a tool to measure the communication effect of short cross talk videos, and respondents were asked to choose a score (1-5 points) to evaluate according to their perception and reaction to drama short videos, from low to high, representing “very dissatisfied”, “dissatisfied”, “average”, “satisfied”, and “very satisfied”. Based on a series of quantitative data collected, the effect of interactive short videos and drama communication can be accurately analyzed and judged. In order to ensure the reliability and validity of the research data, the questionnaires in this paper have passed the reliability and validity test. The survey was conducted online, with a total of 655 questionnaires, and 589 valid questionnaires were obtained, with a recovery rate of 93%.

Under the influence of different forms of communication, different groups of theater fans will be cultivated. Based on this, user participation is divided into three categories: “native theater fans”, “media theater fans”, and “online theater fans”. “Three categories. Based on the above analysis, it can be seen that in the information age, the communication of interactive short video and theater creation has become a relatively mainstream communication channel, and the effect of communication is influenced by cognitive demand, social drive and leisure entertainment, and has a positive correlation. The short-video-based user participation is different from the traditional theater group, and the theater user group formed on the short-video platform has its own community characteristics, which is summarized in this study as the “self-media user group”, which shows dual identity, community core, and interactivity in terms of the member roles, community core, activity presentation, and internal composition of the group. Cultural Characteristics. The reconfiguration of user participation based on theater creation is shown in Figure 2, and the dual identity of the self-media user group is the primary characteristic that distinguishes it from other theater fans in the communication era. As platform users, the identity boundaries between theater short video creators and fans are blurred, and members of the self-media user group have the dual identities of content producers and content receivers. In the community of self-media user groups, the creator replaces the main position of the theater and becomes the core of the community. In the short-video dissemination of opera, it is through the intermediary and core of short-video creators that the connection between young users and theater art is established. In traditional theater user participation, “theater” is the core of community formation, and performers are only as the “carrier” of artistic presentation closely surrounding the core of “theater”, while the performers, the performers, and the creators of short videos are the core of the community. In short video, the performer, i.e. the creator, replaces the main position of theater art and becomes the core of establishing and maintaining the virtual community.

Figure 2.

User participation reconstruction based on dramatic creation

In other words, on the short video platform, young users value experience, feeling, and demand, and their participation in content symbiosis and meaning co-construction is the established path and “should” state, and the “self-media drama group” has formed an “interactive cultural model”. In this interactive cultural model, users give feedback on the text expression, modal application and narrative strategy of the short drama video through liking, collecting and sharing, and realize the common choice of theme presentation, aesthetic presentation and expression mode, the joint formulation of multimodal narrative strategy and the co-generation of the meaning of the short video in the continuous interaction with the creator.

The narrative reconstruction of the content of the integration of short video and drama creation is shown in Figure 3, which mainly covers two aspects of expression and narrative relevance in the content reconstruction of the integration of short video and drama creation. Narrative relevance cannot be ignored in the content reconstruction of drama, and the relationship between characters and plot is a problem that has been concerned in narrative art. There are two views on the relationship between characters and plot, namely, characters can break through the creator’s a priori structure in the storyline to move autonomously, and characters are considered to be the dominant characters of the plot, with autonomous functions, enjoying the right to control the narrative text. In formalist and structuralist narratology, characters are ‘functional’ and appear as agents, implementers of the storyline. These two views are manifested in actual dramatic writing as a presentation of multiple perspectives on characterization and plot content. Although the majority of dramatic works tend to satisfy the “functional” needs of characterization, and assume the responsibility of initiating and promoting a strong plot. However, there are still some works that present the characteristics of “psychological” characters with weak plots.

Figure 3.

The narrative reconstruction of the content of short and dramatic creation

Structure” in a work of art refers to any arrangement used to form a single composite whole from a number of interrelated units. The storyline of a drama depends on the structure of the story.

With the proliferation of types and numbers of TV dramas, as well as the more complex and diversified aesthetic tastes of viewers, the demand for entertainment has been constantly increased, and the reason why nearly the same story content can create different viewing effects is largely dependent on the differences in narrative structure.

In the action meta-model, the narrative text is mainly composed of two parts: the surface structure and the deep structure. The surface structure refers to the action pattern on the level of the elements, which is further generalized and refined on the basis of Propp’s research on the narrative procedure of fairy tales, and is a relatively more general narrative structure model. It is a relatively more general narrative structure model based on Propp’s research on fairy tale narrative procedure, and this paper is based on this model to reconstruct the narrative of interactive short video and drama creation. In the word-action meta-model, the “subject” is the main character of the drama story as the largest proportion of the narrative text, while the “object” is a certain state that the subject wants to obtain, or a specific person. “Desire” connects the subject and the object, constituting the first and most important set of antagonistic relations, and is the source and foundation of the plot. Before the protagonist realizes his “desires”, there is an external force that pushes him to act, the “sender”. The sender sets up an “attractive” object for the subject and causes him to act. Both the “supporter” and the “opponent” are set up to “help” the subject to fulfill the object, but the difference between the two is that the supporter provides the subject with a “positive” object and a “positive” object. However, the difference between the two is that the supporter is to provide the subject with “positive” help, providing guidance for the subject to realize its desire, while the opponent is responsible for providing “negative” help, providing resistance for the subject to realize its desire, enriching the content of the subject, and is the existence of the subject that faces a choice by any means.

Traditional opera performances have a certain programmatic nature, and there is a set of fixed movements in the performance process. Fixed programmed performances also allow the audience to be limited by the venue when viewing, unable to appreciate the full range of opera performances. Short videos can effectively improve the viewing experience and help the audience to enhance the spatial feeling through the lens scheduling operation during the pre-shooting. Clever use of the lens can create an imaginary space for the programmed performance of opera. The combination of rich lens scheduling and stage visual effects used in the short video of opera, this form of presentation fills the practical significance of the programmed action of opera and Kunqu stance, enriches the imaginative space, and leads the audience to perceive the unique charm of Kunqu in front of the screen, and to appreciate the aesthetics of the stance of Kunqu in a close-up way.

Secondly, in the creation of short videos, sound and picture are important elements of expression and narrative. The relationship between sound and picture can usually be divided into sound-picture synchronization, sound-picture separation and sound-picture counterpoint. Sound-picture synchronization refers to the consistency of sound and picture movements, which makes the picture image more realistic and enhances the visual expressiveness. Sound-picture separation, on the other hand, emphasizes the unique significance of sound, which is inconsistent with the action of the picture and highlights the importance of sound. Sound and picture counterpoint is a montage technique by combining sound and picture performance, giving full play to the characteristics of sound and picture, interacting with each other in a relatively independent situation, thus creating a rich audio-visual effect. As a technique of sound performance, voice-over narration can play a supplementary role in explaining the content of the picture. The correct use of voice-over narration can effectively convey the theme content, make the audience understand the content of the short video more clearly, and highlight the performance of the content structure. At the same time, the rendering of words in the narration can also enhance the audience’s emotional resonance to the content of the short video, enriching the artistic impact of the work.