中国影视艺术中的无表情表演--基于叙事装置和表意行动的视角  

Expressionless Performance in Chinese Film and Television Arts--From the Perspective of Narrative Device and Expressive Action

作　　者：于溟跃 Yu Mingyue(School of Liberal Arts,Renmin University of China,Beijing,100872)

机构地区：[1]中国人民大学文学院,北京100872

出　　处：《山东师范大学学报（社会科学版）》2023年第3期109-115,共7页Journal of Shandong Normal University(Social Sciences)

基　　金：国家社科基金项目“古代乐论视域下中国美学范畴形成与建构研究”(20BZW031)的阶段性成果。

摘　　要：无表情表演是一种放弃表情或在某一瞬间使面容凝固的表演方法,能够间接向观众展现角色深邃的内心、丰富的情绪以及充沛的情感力量,引发观众深思。在本土叙事语境下,无表情表演作为中国影视艺术中的必要叙事装置和表意行动,赋予影视作品以良好的艺术效果和审美格调,兼具深远精妙的古典美学意味。无表情表演在呈现超越性、延伸性和辩证性特征的同时,也是一种“理想态”表演,有益于实现技术层面的组合性与开放性。对无表情表演进行探析,在叙事、美学和技术层面具有多重价值。Expressionless performance in which the actor acts without facial expression or is pokerfaced can indirectly show to the audience the innermost being,the abundant emotion and strong force of the character that make the audience meditate.In the native narrative context,expressionless performance,as a necessary narrative device and an expressive action in Chinese film and television arts,endows film and television arts with splendid artistic effects and aesthetic tastes,and also exquisite classic aesthetic implication.With the features of being transcending,extending and dialectical,expressionless performance as an ideal way to act is open and comprehensive in technique.Studying expressionless performance is significant in terms of narration,aesthetics and technique.

关 键 词：无表情表演 叙事装置 表意行动 美学意趣 “理想态” 

分 类 号：J912[艺术—电影电视艺术]