体现、重塑与感知:现象学视野下电影表演的三重维度  

Embodiment,Remolding and Perception--Three Dimensions of Film Performance from the Phenomenological Perspective

作　　者：许元[1] Xu Yuan(Shanghai Theatre Academy,Shanghai 200040)

机构地区：[1]上海戏剧学院,上海200040

出　　处：《新疆艺术学院学报》2022年第4期98-105,共8页Journal of Xinjiang Arts University

摘　　要：表演艺术是所有艺术门类中唯一以人自身作为媒介手段的艺术。表演离不开人的生命活动,而生命体验本身就是复杂多变的,电影表演因其存在与表现的特殊方式赋予表演本身更加多重的含义。现象学的独特之处在于它看待事物与研究对象的方法和态度,其对电影表演的启发在于,从方法论的角度认识电影表演并指导实践,使创作者突破以往的认知传统,直面表演与作品本身。电影表演不仅是演员主体直接经验与肉身重塑的体现,在影响观众审美感知的同时也创造着电影的意义表达,在关联中共同构成着表演本身。The performing art is the only art in all art categories that uses human beings as a medium.Performance can not be separated from human activities,and human experience itself is complex and changeable.Film performance gives more meaning to performing because of its special existence and embodiment.What is unique about phenomenology is its method and attitude of looking at things and research subjects.The implications that it brings to film performance is that it provides methodology for understanding film performance and providing practical guidelines,so that the actors and actresses can break through the frame of cognitive tradition and face the performance and the work directly.The film performance is not only the embodiment of the actors’and actresses’direct experience and image remodeling,and it also creates the expression of the meaning of the film while affecting the audience’s aesthetic perception.All the factors together constitutes the performance itself via association and relevance.

关 键 词：电影 表演 现象学 肉身 审美 

分 类 号：J912[艺术—电影电视艺术]