现代中国表演艺术的滥觞——文明戏演员与早期中国电影的民族性实践  

The Beginning of Modern Chinese Performing Arts:Civilized Drama Actors and the Practice of Nationality in Early Chinese Cinema

作　　者：许元[1] Xu Yuan

机构地区：[1]上海戏剧学院电影学院

出　　处：《电影艺术》2024年第1期145-151,共7页Film Art

基　　金：2019年度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”(项目编号:19ZD11)子课题阶段性成果。

摘　　要：中国电影对文明戏表演经验的移植,肇始于文明戏演员在早期中国电影中的民族性实践。无论是文明戏演员从舞台到银幕的双向表演实践,还是电影史上第一次关于表演的论争,以及文明戏演员对民族类型叙事影片的影响,我们从中均可以窥见文明戏与襁褓中的中国电影的母体与子体的关系。文明戏演员也在戏剧与电影的互动实践中,为面对现代社会的早期中国电影提供了复杂的有关表演、理论与类型的启蒙经验,成为民族文化得以持续建构的本源所在。The history of the civilized drama actor's ethnic practice in early Chinese film initiated the transplantation of the experience of civilized drama performance in Chinese cinema.Whether the bidirectional acting practice of the civilized drama actor from the stage to the screen,the first debate on acting in the history of Chinese cinema,or the influence of the civilized drama actor on ethnic genre narrative films,we can see the maternal-child relationship between the civilized drama and Chinese cinema in its infancy.In the interactive practice between drama and film,the civilized drama actor also provided early Chinese cinema in the face of modern society with a complex enlightenment experience of performance,theory,and genre,which became the source of the ongoing construction of national culture.

关 键 词：文明戏演员 表演 早期中国电影 民族性 

分 类 号：J909.2[艺术—电影电视艺术]