關於這篇論文，主要是針對文化大革命時期基於「政治意志」和「戰略考量」所建構出來的「樣板戲」，透過巴赫金的「對話理論」與「狂歡理論」來對其進行意識形態符碼的解構；以釐清樣板戲在新中國建政過程中的歷史地位，及其在藝術表現之外對國家文化和意識型態的影響力。在這場戰略符碼的解構旅程中，我們主要以索緒爾所建立的符號學作為基礎，並加入托洛多夫的象徵理論；組成一個經過修正後的符號學理論架構，來作為這篇論文的研究方法。而對於特定的重要名詞或關鍵概念，在避免對話產生歧異的前提之下；我們會在文字符號的結構中，對其構詞進行解構，以尋找其最原初在希臘文中的意義，來作為理論建構的依據。 This Research paper mainly talks about “Model Beijing Operas”, which constructed by "fake carnival Utopia Theater”, composed by "political will" and "strategic considerations" during Chinese Cultural Revolution .
This red political art’s ideological codes is deconstructed by Bakhtin ''s "dialogue theory "and" carnival theory ",in order to clarify the historical status of Model Beijing Operas during the process of building the new China, and it’s influence of national culture and ideology, besides its artistic achievement .
In this journey of strategic codes’ deconstruction, we mainly use Saussure''s sémiologie and add Tzvetan Todorov ''s symbol theory to form a modified framework of sémiologie, as this paper’s research methods.
To avoid misunderstanding of some specific important terms or key concepts during communication, we deconstruct the structure of text symbol’s word-building to find it’s most original meaning in Greek, as this theory’s foundation.
