在互动中提高的表演艺术--比较视野下的民国时期话剧与电影表演  

Improving Acting Skills in Interaction--A Comparative Study on the Performance in Modern Drama and Film in the Republic of China

作　　者：计敏[1] Ji Min

机构地区：[1]上海戏剧学院

出　　处：《戏剧（中央戏剧学院学报）》2020年第1期116-127,共12页Drama:The Journal of the Central Academy of Drama

基　　金：教育部人文社会科学研究规划基金项目“中国戏剧与电影的互动关系研究(1905-1949)”(项目编号:15YJAZH026)的阶段性成果。

摘　　要：20世纪上半叶,话剧与电影作为中国的两种新兴艺术在创作实践中始终相互借鉴与渗透,表演也是一个突出的方面。话剧表演与电影表演由于各自的艺术本性存在着明显的差异。话剧舞台以表演为中心的观念影响了电影的"长镜头"表现形式,而优秀话剧演员的加入,又极大地提高了电影表演的技巧。另一方面,经过镜头前的磨砺,话剧演员学会了更加真实的、生活化的表演,逐渐实现了舞台上从"演戏"到"演人"的飞跃。大量剧影双栖的演员以一种借鉴互补的姿态,提升了中国舞台与银幕的艺术表现力。In the early 20 th century, as two new types of art in China, modern drama and film learned from and influenced each other in their practice, especially in acting. The performances of modern drama and film were significantly different due to their artistic natures. The stage-centered concept of modern drama influenced the "long shot" in film, and the participation of outstanding modern drama performers greatly improved the skills of film acting. On the other hand, after performing in front of the shot, the modern drama performers learned to act more realistically and lively, and gradually improved from "presenting plots" to "presenting characters". Those performers who were active both in modern drama and film can improve the artistic expression of Chinese theatre and film by taking advantage of the skills of these two kinds of art.

关 键 词：话剧与电影 本色派 演技派 体验派 表现派 

分 类 号：J82[艺术—戏剧戏曲]