论袁牧之“外形的演技”  

On Yuan Muzhi's “Formalistic Acting Skill”

作　　者：马俊山[1] 

机构地区：[1]南京大学中国新文学研究中心

出　　处：《戏剧艺术》2016年第1期82-90,共9页Theatre Arts

摘　　要："千面人"袁牧之是爱美剧时期中国话剧表演艺术的杰出代表,中国第一个性格演员。他从外形入手,通过模拟生活中的人和外国电影演员的方式,形成了外部性格化的表演路线,成功扮演了各种性格的戏剧人物,使中国话剧从演讲式或主题式的表演,转向人物形象创造,为金山、赵丹等人更加成熟的演技积累了经验和技术。这是一个重要的发展。但由于生活经验的相对不足和创作条件的限制,这种"形式的演技"或"模拟的演技",在表现人的"精神生活"方面,又存在难以解决的体验问题。正是这个问题的彰显和解决,推动中国话剧表演艺术继续前行,从幼稚走向成熟。袁牧之是一个重要的历史转折点。Known as ＂the man with a thousand faces＂, Yuan Muzhi is an outstanding representative of the performing arts and Chinese spoken drama during the Amateur Theatre Period, as well as the first personality actor in China. By mimicking the external appearances of real people （including foreign film actors）, he had formed his own style of formalistic characterization and succeeded in portraying various characters with different personalities. This important progress in acting skill enabled actors to transform from a speech-like or thematic acting style to a performing style focusing more on characterization. The experiences and skills gleaned from this progress have contributed to the more mature acting skills of actors such as Jin Shan and Zhao Dan. However, due to the lack of life experience and the limitations of acting conditions, these ＂formalistic acting skill＂ and ＂mimetic acting skill＂ encounter insurmountable difficulties in representing the ＂spiritual life＂ of Chinese people. It is the exposure and solution of those difficulties that has pushed Chinese performing arts into maturity.

关 键 词：袁牧之 演技 外形 模拟 性格化 

分 类 号：J80[艺术—戏剧戏曲]