澄怀味象:20世纪90年代至新世纪初期的电影表演美学  

Serene Mind for Natural Beauty:Film Performance Aesthetics from the 1990s to the Early 2000s

作　　者：冯果 韩鸿滨 FENG Guo;HAN Hongbin(Shanghai Film Academy,Shanghai University,Shanghai 200072,China)

机构地区：[1]上海大学上海电影学院,上海200072

出　　处：《上海大学学报（社会科学版）》2024年第1期96-104,共9页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学重大项目(19ZD11)。

摘　　要：20世纪90年代至新世纪初期,人们身处社会巨变之中,这一时期的银幕表演呈现出澄怀味象的美学风格。澄怀味象作为道家美学的复归与再发展,指向自然而然之美,相较于强调道德比附的儒家美学,更追求外在形态与内在精神的自然显现。身处价值观驳杂多变的转型时期,城市青年向内关照心灵的言行与传统根脉相碰撞后,显现出任其自然、依其本性的青年角色塑造及表演范式,建构了青年一代虽游离于主流社会价值观之外,但如其所是、自由生存的情感模式与价值选择。The 1990s and the early 2000s,a period of great social changes,witnessed a unique aesthetic style in screen performance:serene mind for natural beauty.This aesthetic tendency was a restoration and renewal of Laozi and Zhuangzi’s(Taoist)aesthetics,aspiring for the beauty of naturalness.Compared with Confucian aesthetics which emphasizes moral analogy,it focuses more on the natural state of external appearance and inner spirit.Situated in such a transitional period rife with diverse and changing outlooks on value,the urban youth performers took on a spontaneous and natural way of character shaping and performance paradigm as a result of the collision between their inward reflection and traditional roots.Therefore,although they did not represent the mainstream social values,they took things as they were to express emotions and make value choices.

关 键 词：电影表演 表演美学 澄怀味象 自然化 

分 类 号：J912[艺术—电影电视艺术]