伴随着社会文化环境的变化，网络技术的演进与商业资本的入侵，扮丑网红们开始在网络中走红。扮丑网红类似于抽象艺术，凭借低俗夸张并带有喜剧色彩的表演，吸引到大量青年人群参与到扮丑行为的传播过程中。并且这些受众乐于将扮丑行为及其衍生品作为个人社交互动的工具。根据布尔迪厄的趣味理论得知，文化水平越高的人越追求高雅文化，越抵触低俗文化。所以本文以扮丑行为的“表演者”，即扮丑行为的消费者作为切入点，聚焦于其观看扮丑者（被观看者）行为后的态度，参与动机与策略。拟剧理论框架为社交互动行为提供了独特的研究视角。根据拟剧理论，人们的任何行为都是进行自我呈现的过程。人们出于社交、娱乐等动机，以扮丑的衍生品为工具，通过品味表演、观众隔离等策略进行个人表演。但是，由于扮丑行为内容的独特性以及受众的独特性，可发现传统的表演策略和表演动机都已发生了演变，表演理论也在发生着演变。

本文通过爬虫进行网络评论抓取，分析受众在网络公共平台的表演策略与情感态度，得出受众对于扮丑文化具有强烈的包容性，并愿意在扮丑行为中引入个人的社交关系。之后，通过深度访谈进行扎根分析，得出受众们具体的表演状况，从而分析出扮丑行为表演中各要素的变化及具体的行为动机与表演策略。本文认为扮丑行为的舞台与受众规模正在不断扩大，观众在与不协调角色进行对抗的时候保持了扮丑行为的稳定发展。同时，基于感知亲密度的关系圈、基于趣缘关系的兴趣圈以及年龄圈成为受众进行观众隔离的主要标准。在动机层面，符号学层面的意义建构——亲密关系的符号、社交互动、以及无动机的狂欢为其主要原因。最后，基于访谈与实际观察中的文本，本文认为扮丑行为将通过人际强关系进一步扩散，并加深代际隔离。

Along with the change of social and cultural environment, the evolution of network technology, the invasion of commercial capital, people who play ugly and red are becoming hot in the network. They are similar to abstract art. With their vulgar, exaggerated and comedic performances, they continue to become popular among the youth groups, and a large number of people will participate in the dissemination process of the act of clowning, taking the act of clowning and its derivatives as a tool of personal social interaction. According to Bourdieu's theory of interest, the higher the level of culture, the higher the pursuit of high culture, the more anti vulgar culture. Therefore, this paper takes the youth group as the starting point to study people's specific attitude, participation mode and participation motivation towards the act of clowning.

The theoretical framework of parody provides an empirical perspective for people's social interaction. According to the theory of parody, any behavior of people is a process of self presentation. People present themselves through the derivatives of clowning. For social and entertainment motives, they perform themselves through taste performance, audience isolation and other strategies. However, due to the uniqueness of the content and audience of the cultural form of clowning behavior, the framework of traditional drama theory is also undergoing innovation, and the performance strategy and motivation have evolved.

In this paper, web crawlers are used to make comments on the Internet, so as to analyze the audience's specific performance strategies and emotional attitudes on the Internet public platform. It is believed that the audience has improved the level of network tolerance, has a strong tolerance for the culture of clowning, has a positive attitude towards the whole clowning behavior, and is willing to introduce personal social relations into the clowning behavior. After that, through the in-depth interview to carry out a specific rooted analysis, we get the audience's specific performance situation, and analyze the changes of various elements in the clown act performance, as well as the specific behavior motivation and performance strategy. This paper holds that the scale of stage and audience of clowning behavior is expanding constantly, and the audience keeps the stable development of clowning behavior when confronting with uncoordinated roles. At the same time, the relationship circle based on perceived intimacy, interest circle based on interest relationship and age circle become the main criteria for audience isolation. In the category of motivation, it tends to construct the meaning of Semiotics: intimacy, social interaction, and Carnival without motivation. Finally, based on the interview and the actual observation of the specific text, this paper believes that the ugly behavior will be further expanded through strong interpersonal relationships, and may deepen the intergenerational isolation and information gap.