「台灣元素」一直是央視春晚不可或缺的部分。而喜劇小品是最適合進 行官方宣傳的節目形式。歷年春晚涉及台灣的小品有三個,本研究將其視為 敘事文本,在「情節」、「角色特質」與「場景」的敘事分析框架下,通過 符號分析「台灣形象」發現:不同世代的台灣外省人,說著「台灣國語」或 大陸某「方言」,但他們 ( 或其長輩 ) 有著共同的「鄉愁」,並返回故鄉「山 東」與大陸民眾互動,體現出濃厚的骨肉親情。塑造「台灣形象」的策略包 括:通過「幕後人物」映射思鄉卻無法返鄉的「外省人」族群;通過「鄉愁」 的再論述,將情感書寫挪用為政治統戰的主題;通過「家與國」的關係,將 家庭「團圓」鏈接到國家「團結統一」上;「隱喻」手法的運用,將兩岸關 係的表達日常化,引發更多認同;特殊的場景設定成為敘事情節和情感認同 的推手。而三個小品背後所隱含的是團結統一的民族意識和身份認同。

關鍵詞:央視春晚、台灣形象、敘事分析、符號分析、喜劇小品 

“Taiwan elements” have always been an integral part of the CCTV Spring Festival gala. Comedy sketches are the most suitable form for official propaganda. There are three sketches related to Taiwan in previous Spring Festival gala. This study regards sketches as a narrative text. Under the narrative analysis frameworks of “plot”, " role characterization” and “setting”, through the semiotic analysis of “Taiwan image”, it is found that different generations of mainlanders in Taiwan speak the “national language” of Taiwan or some “dialect” of mainland China. However, they (or their elders) share the same “nostalgia” and return to their hometown “Shandong” to interact with the mainland people, showing the strong kinship. The strategies of shaping “Taiwan image” include: Mapping “Taiwan Mainlanders” who are homesick but cannot return home through “behind the scenes”; appropriate use of emotional writing as the theme of political united front by re-discussing “homesickness”; connecting family reunion with national reunification through the relationship between “home and country”; setting special scenes as the driving force for narrative and emotional identity. All of the three sketches reflect the unified national consciousness and identity.

Keywords: CCTV Spring Festival gala, image of Taiwan, narrative analysis, semiotic analysis, comedy sketches