丑女贝蒂的音乐

IF 0.1 3区 艺术学 0 MUSIC
María Edurne Zuazu, Rubén López Cano
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引用次数: 1

摘要

哥伦比亚电视剧《我是贝蒂,我的茶》(1999-2001)在世界范围内的传播前所未有,不仅以其原始形式,而且通过本世纪初出现的多种国家改编,使其成为历史上最成功的电视剧。尽管这一现象引起了学术界的关注,但音乐在这部电视剧的发展轨迹和转变中的作用在很大程度上被忽视了。然而,原声设计和音乐是《贝蒂》在全球成功发行的核心要素。这部剧的原声——它的开场主题、原始音乐和流行歌曲——在《我是贝蒂,我是茶》和它的多种改编中被调动起来,以适应这部剧的国际发行和当地改编,迎合当地观众,塑造基本情节,定义这部剧的美学,并调整《贝蒂》的丑陋性,使其适应不同的社会文化现实和媒体环境,而这些社会文化现实和媒体环境正是这部剧产生和消费的地方。流行歌曲也参与了该系列的推广和商业化,同时将肥皂剧的世界扩展到电视背景之外。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Las músicas de Betty, la fea
The Colombian telenovela Yo soy Betty, la fea (1999–2001) had unprecedented and outstanding diffusion all over the world, both in its original form and through the manifold national adaptations that sprang forth throughout the 2000s, making it the most successful telenovela in history. Although the phenomenon has attracted scholarly attention, the role of music in the trajectories and transformations of this telenovela has largely been overlooked. Yet the soundtrack design and music were fundamental elements at the core of Betty’s successful worldwide circulation. The series’ soundtrack—its opening theme, source music, and popular songs—was mobilized in Yo soy Betty, la fea and in its manifold adaptations to habilitate the international circulation and local adaptation of the series, to address local audiences, to fashion the basic plot, to define the series’ aesthetics, and to adjust Betty’s ugliness-otherness to the different sociocultural realities and media contexts in which it was produced and consumed. Popular songs also participated in the promotion and commercialization of the series while extending the telenovela’s world beyond its televisual context.
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