The audience's psychological needs also have a greater objectification result, that is, the aesthetic psychological habits accumulated and shaped by the first objectification results (the categories and styles of art) and the second objectification results (the means of artistic expression), which can also be called aesthetic psychological stereotypes. However, due to the breadth of this objectification, it can only be mentioned briefly here.

The audience's aesthetic psychology is the internalization and generalization of long-term aesthetic experience and aesthetic inertia. The so-called internalization refers to the inward precipitation of aesthetic experience and aesthetic inertia, which becomes a psychological structure, and then becomes the basis for future aesthetic acceptance, rejection, dislocation, and misreading. The so-called generalization refers to the generalization of this mental structure. First, it is common to similar audiences, expanding from the perspective of personal expectations to the field of public expectations, and even becoming a national and regional aesthetic psychological stereotype; The second is common to other aesthetic objects, that is, from one-way aesthetic habits to overall aesthetic attitudes, for example, from the preference for appreciating drama to the approximate choice of music, dance, and painting.

This kind of internalization and generalization makes the audience encounter the work again and again, which is deposited into a long-term aesthetic tendency, which not only creates an art history, but also creates a spiritual history, and makes the two histories contain each other.

Mental stereotypes are a lot like a collective inheritance. Although this remains to be studied, there is not enough factual evidence to prove the exact role of congenital inheritance in this problem. The so-called feeling of "as if I had seen it in a previous life" mostly comes from the extension and derivation of the aesthetic experience in this life. Peter Sanders, the stage manager of British writer Agatha Christie's play The Mousetrap, has been running for 30 years, and Peter Sanders has spoken of the fact that generations have watched the play from generation to generation, but this aesthetic "inheritance" is not innate: "I am also pleased to find that the young audience who watched the play in the 50s of the 20th century are now heads of families or housewives, and they are beginning to bring their children with them." It is estimated that 500,000 babies are born in Britain every year, and about 150,000 of these children will go to see the play performed when they reach adulthood. Obviously, this can only be said to be an acquired "heredity". A portion of the British audience (30 per cent, as Peter Saunders optimistically estimates) loved the play, and it was for specific historical and cultural reasons that an aesthetic tendency was converging, and in this group of people, in the play, had the opportunity to linger for a long time.

Christie

Regardless of the source, aesthetic psychological stereotypes have become an indisputable fact in the world, and they are very large, becoming the cultural hallmark of many communities.

Jo E. Schlegel once wrote in an essay on national theatre in which he elaborated on the stark differences between the English and the French in the aesthetic and psychological stereotypes of the theatre. He argues that the British like intricate confusion (the aforementioned Agatha Christie's popularity in England is also related to this characteristic), while the French like the straightforwardness of the plot. From this point to the aesthetic focus of the two peoples, he believes that the British prefer to think, understand, speculate, speculate, and distinguish the character of the characters; The French try to avoid or not pursue these things, preferring emotion, listening, feeling, and paying attention to the fate of the characters. The British get more aesthetic pleasure from depicting the strong feelings of despair and suicide, while the French get more aesthetic pleasure from depicting love. Thus, Schlegel pointed out: "Every nation creates the drama it likes according to its own different customs and different rules, and a play is created by that people, and it is rare that other nations can fully like it." Therefore, "in establishing a new type of drama, it is necessary to take into account the customs and special character of the nation."

King Lear

During its tour of Europe and the United States, the Royal Shakespeare Theatre also had a strong feeling about the aesthetic psychology of different ethnic groups. It is recorded that they performed King Lear, and in the places between Budapest and Moscow, the audience barely spoke English, but the audience understood and loved the play, longed to meet foreigners, and was able to experience the painful themes of the play with their own experience, which produced surprisingly good results. Soon after, the troupe performed in the United States, where the audience was supposed to be able to understand English perfectly, but the results were quite poor, and the American audience mostly came to the play for some kind of social need or was driven by his wife, which of course did not fit in with the serious and rustic style of the work. This seemingly anomalous contrast reflects two different aesthetic psychological stereotypes.

Even the specific artistic issues of tragic expression, which we have just mentioned in the previous section, are dealt with in different ways of thinking by different nationalities and regions. Generally speaking, Chinese artists are much more flexible and casual on this issue than Western artists, and often share joys and sorrows. It is also a manifestation of two different social psychology. Wang Guowei said: "The spirit of our people is also in the world, and it is also optimistic. Therefore, the opera novels that represent its spirit are invariably colored by this joy, starting from the sad and finally happy, starting with the departed and finally together, starting from the trapped and finally Heng. "Classical Chinese tragedies often end in a happy ending, so that the audience's aesthetic and psychological process has a consoling summary, which is a kind of satisfaction of the dramatist's wishes to the audience. The audience's will is so strong that it often turns the tragic events around. This kind of willingness, which has both the kind element of love and hate, and the cowardice and disguise element of unwilling to face up to the darkness, is the product of a huge national psychological formula. Some researchers have described the emotional stereotypes of Chinese and Western tragedies as follows:

Western tragedy: joy → sorrow → great sorrow

Chinese tragedy: joy → sorrow→ joy → sorrow→ great sorrow → small joy

Song Miscellaneous Drama Painting

Judging from most of the Chinese and Western tragedies, this depiction makes sense. From here, we can also clearly see the relationship between the audience's psychological stereotypes and the structural stereotypes of the play.

Aesthetic psychological stereotypes are a huge force of inertia, constantly "assimilating" audiences, artists, and works. However, complete "assimilation" is not possible, because the audience is complex, and there is always no shortage of pioneers among the artists. Under normal circumstances, aesthetic psychological stereotypes are constantly adjusted in response to changes in society and many other reasons.

The adjustment of aesthetic psychology can be divided into two categories: homeopathic and contrarian. The trend relies on subtle work, and the contrarian trend relies on the power of forced turnover. Whether it is trending or going against the trend, it can be positive or negative.

Homeopathic adjustment is happening every day, the good and the bad coexist, and it is difficult to form a clear trend. What is interesting is the contrarian adjustment, because it is a challenge to the audience's existing psychological stereotypes, the trend is clear, the effect is obvious, whether this adjustment is due to the artist or other forces, it shows the degree of plasticity of people in the aesthetic field, and also shows the strength and fragility of the group psychology.

The theater of Paris, where Hugo's plays are often performed

The best example of a positive contrarian adjustment is the "Onani" incident initiated by Hugo. Hugo wanted to attack the classicism that had dominated the European theater scene for hundreds of years, which was in line with the trend of the times, but could not conform to the aesthetic habits of the audience. So he wrote a play that ran counter to the principles of classicism, "Onani", and deliberately took it to the Théâtre de France, the stronghold of classicism, to be staged. It was not so much that Hugo wanted to change the repertoire of the Théâtre de France, but that he wanted to change the psychological stereotypes of the French audience. Sure enough, between the performances, the sounds of boos, troublemakers, and cheers were endless, and the psychological stereotypes of most of the audience produced instinctive resistance. Hugo took tough measures and organized youth cheers to support the team. The more the classicists resisted, the more Hugo insisted on it, and after a month and a half of confrontation, the audience's psychological stereotype finally loosened. Eight years later, the play was staged again, and the French audience no longer felt uncomfortable.

An example of negative contrarian adjustment may be taken from the "Cid" incident at the beginning of the implementation of classicism. Gao Naiyi's popular play "Cid" was criticized by the Académie Française for violating the laws of classicism. The Académie de France also sent an article in an attempt to convince Gao Nayi and the audience to accept the ruling, that is, to forcibly adjust the aesthetic psychological stereotypes that they were not satisfied with. Did the Institut Française succeed? It should be said that it was a success. They may not be able to convince Gao Naiyi for a while, but after all, they have changed the aesthetic and psychological stereotypes of a large number of audiences in a long historical period in the future, so that in Hugo's time, they have to overcome this negative reverse adjustment with positive contrarian adjustment.

Gao Naiyi

It can be seen that many major events in the history of human art are related to the adjustment of the audience's aesthetic psychological stereotypes. Therefore, among the various opponents that artists face, the biggest opponent is this psychological stereotype.

The confirmation of psychological stereotypes has also brought great convenience to our aesthetic psychology research. It makes the audience's mental activity stable, orderly and discernible, which provides the basic conditions for theoretical research. If the psychological factors are like a mess, and the psychological activities are like a pack of rabid dogs, it is difficult to explore the psychological laws of the audience.