“影戏”表演观念及其电影学派意义辨析  

Analysis of the"Yingxi"Performance Concept and the Significance of Its Film Genre

作　　者：厉震林[1] Li Zhenlin

机构地区：[1]上海戏剧学院电影学院,上海200040

出　　处：《中国社会科学评价》2023年第2期19-29,157,共12页China Social Science Review

基　　金：2019年国家社会科学基金艺术学重大项目“中国电影表演美学思潮史”(19ZD11)阶段性成果。

摘　　要：“影戏”表演观念存在一种“超稳定系统”,与中国电影学派有着重要的文化和美学内在关联。从发生学、本体论、国别性三个层阶,可以看到20世纪30年代以后“影戏”之名虽然退出历史舞台,但是由于产业与政治等诸种原因,它逐渐转化成戏剧性表演,并与现实主义表演方法逐渐融合,成为戏剧性表演的中国电影标本,是中国电影学派国别特点的文化维度,可以提炼和锻铸成为中国电影学派的观念符号以及美学标志之一。There is an"ultra-stable system"in the concept of"yingri"performance,which has important cultural and aesthetic connections with the Chinese film genre.From the three levels of genetics,ontology,and nationality,although the name"yingri"has retreated from the historical stage after the 1930s,it has gradually transformed into dramatic performance and integrated into realistic performance methods.Yingri has become a specimen of Chinese theatrical performance and constitutes a cultural dimension of the national characteristics of the Chinese film genre,which can be refined and forged into one of the conceptual and aesthetic symbols of the Chinese film genre.

关 键 词：影戏 表演观念 超稳定系统 中国电影学派 

分 类 号：J912[艺术—电影电视艺术] J909.8