【舞台置景】《你好星期六》2026舞台置景

《你好星期六》｜2026 舞台置景｜2026 年度｜长沙

《你好星期六》是湖南卫视与芒果 TV 的周六综艺。节目把一条虚构的「好六街」搬进演播厅：街面、店铺、路口都在棚里，嘉宾在街上做游戏、聊天、开店。官方对这条街的说法是「把平凡生活的烟火气搬进演播厅」。2026 年的置景由皆大欢喜空间设计完成，设计师闫文昊、雷景超。它不是一块背景板，而是一条能走进去的街，加上几间能进人的店。

街面由几栋铺面并排拼出来，立面、招牌、门窗按真街的比例做，招牌一层压一层，颜色压在暖黄与橙之间；街边种树，树冠伸到灯前，把硬边打碎。街心一处圆形玻璃构件，白天透光，亮灯后变成橙色。街区尽头是一块夜色天幕，上面挂着一颗红色星球，把整条街收进夜里——演播厅没有窗，夜景只能靠幕布和吊顶灯做出来。上方是吊顶灯架，方形与条形灯排成两列，把街面打匀。

街边几间店铺是可以进去的实景：面包店的瓷砖墙、面包展示架、桌椅都按真店做，柜台与桌椅能实际使用，暖橙与米色；另一间店铺用屏幕、拱门和台阶分出前后场，吊顶挂方形灯，背景立广告牌。街区之外另有一块舞台区：正面是屏，两侧是拱形结构，中间几级台阶，背景一面植物墙，红、绿、白是主色。街与台在同一个棚里，靠颜色和灯光分开，导播切镜头时观众一眼能认出「在街上」还是「在舞台」。

这套景的价值在可换：街区是固定的壳，每期换招牌、换道具、换灯光就变成不同主题；店铺内景按当期内容改陈设；舞台区靠屏和灯承担表演段落。这类棚内街区通常一季搭一次，中间只做小改。公开信息里没有搭建方与工期，站上按待定挂。这也是综艺置景和一次性舞美的区别：前者要经得住十几期节目的磨损。对节目，这是一套能长期使用的棚内街区；对看案例的人，它提供了一个「街＋店＋台」三件套的棚拍样本——比单面布景贵，但一季能用到底。

"Hello Saturday" | 2026 Studio Set Design | 2026 season | Changsha

"Hello Saturday" is Hunan TV and Mango TV's Saturday-night variety show. The programme moves a fictional block, Haoliu Street, inside a studio: the street, the shops and the corners are all built under one roof, and guests play games, talk and run shops along it. The channel describes the idea as bringing the everyday life of a city street into a studio. Each weekly episode mixes games, interviews and performances, and the street is where most of it happens. The 2026 set was designed by the studio Jieda Huanxi Space Design, with designers Yan Wenhao and Lei Jingchao. It is not a backdrop but a street you can walk into, with several shops you can enter.

The street is assembled from a row of shopfronts, their facades, signs and windows built to the proportions of a real street, signs layered over one another, the palette pressed between warm yellow and orange. Trees stand along the kerb, their crowns reaching in front of the lamps and breaking the hard edges. Because the street is lit from a ceiling grid rather than from shop windows, the lamps have to do the work of both daylight and streetlight. At the centre sits a circular glass element that transmits light by day and turns orange when lit. The street runs long enough for a group to walk abreast and for a wide shot. At the far end a night sky backdrop carries a red planet and closes the street into evening — a studio has no windows, so night has to be made from cloth and ceiling light. Above, a ceiling grid runs two rows of square and linear fixtures that wash the street evenly.

Several shops along the street are real interiors: a bakery with tiled walls, bread racks, chairs and tables built like a working shop in warm orange and cream, its counters and seating usable rather than painted on; another unit uses screens, an archway and steps to divide front from back, with square ceiling lights and a billboard behind. The shops open onto the pavement, so a host can step from the street straight to a counter. Beyond the street there is a separate stage area: a screen at the front, arch structures at the sides, several steps in the middle and a plant wall behind, with red, green and white as its main colours. Street and stage share one studio and are separated by colour and light, so a cut between cameras tells the audience at once whether they are on the street or on the stage. The two zones also answer different needs: the street carries the show's daily-life tone, while the stage is where performances and game finales land.

The value of the set is that it can be changed: the street is a fixed shell, and swapping signs, props and lighting turns it into a different theme each episode; shop interiors are re-dressed to suit the week, and a themed episode can repaint a whole corner; the stage area carries performance segments through screens and light. A studio block of this kind is normally built once for a season and only adjusted between episodes. No fabrication partner or build schedule appears in public material, so the field is left pending on site. Unlike a one-off stage build, the set has to survive a season of episodes. For the programme it is a studio block built to last, and the cost is carried across a whole season rather than a single episode; for anyone reading the case, it is a three-part studio model — street, shop, stage.

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