“戏”“影”互鉴视域下郑正秋对中国早期现代表演理念的探索  

Zheng Zhengqiu’s exploration of the early modern Chinese performance concept from the perspective of mutual learning of“stage plays”and“films”

作　　者：王蒙 WANG Meng(College of Communication,Qingdao University of Science and Technology,Qingdao 266061,China)

机构地区：[1]青岛科技大学传媒学院,山东青岛266061

出　　处：《青岛科技大学学报（社会科学版）》2023年第4期92-97,105,共7页Journal of Qingdao University of Science and Technology(Social Sciences)

摘　　要：20世纪初,在中国现代戏剧与中国现代电影互鉴发展的历史背景下,郑正秋以新剧家的身份进入电影创作领域。他对文明新剧与电影表演观念的认知既一脉相承,又各具特色。郑正秋主张突破传统旧剧“程式化”“虚拟化”的表演观念,试图推动中国早期电影表演观念从古典走向现代,形成了以“剧本”为重心的真实表演风气。随后郑正秋将舞台表演经验移植到电影领域,从而完成了中国现代电影民族化表演理念的初步探索。In the early 20th century,against the historical background of mutual learning and development between modern Chinese stage plays and modern Chinese films,Zheng Zhengqiu entered the field of film composition as a new drama writer.His understanding of the concept of civilized new stage plays and that of the film performance are both in the same line,but also show different characteristics.In order to break through the traditional stylized and virtualized performance concept of old stage plays,Zheng Zhengqiu made an attempt to promot the early Chinese film performance concept from classical to modern,and gradually formed the atmosphere of real performance with“scripts”as the focus.Subsequently,Zheng Zhengqiu transplanted his experience of stage performance into the field of films,thus completing the initial exploration of the concept of national performance of modern Chinese films.

关 键 词：现代表演意识 “戏”“影”互鉴 郑正秋 文明新剧 民族视野 

分 类 号：J812[艺术—戏剧戏曲]