赋比兴:1970年代末至1980年代中期的电影表演美学研究  

Narration,Analogy and Association:A Study on the Acting Aesthetics in Films from the Late 1970s to Mid-1980s

作　　者：冯果 韩鸿滨 FENG Guo;HAN Hongbin

机构地区：[1]上海大学上海电影学院

出　　处：《电影理论研究（中英文）》2024年第2期39-45,共7页Journal of Film Studies

基　　金：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”的阶段性研究成果(项目批准号:19ZD11)。

摘　　要：1970年代末至1980年代中期,面对“文革”结束后的灰暗情绪,以第四代导演为代表的电影创作使用中国古典诗词的抒情手段,以“人”为中心,以情绪为主体,还原真实完整的人的状态。这一时期的电影表演呈现出赋比兴的美学特质,演员表演不仅以压低、减淡的情感表达匹配去戏剧化的表演理念,同时也与被拓展的视听手段紧密配合。演员在电影中呈现出的铺陈真实、抒情诗化的表演范式,建构出彼时对“人”真实生命状态充分关注的情感模式与价值选择。Enveloped by the gloomy mood after the Cultural Revolution",the film creators from the late 1970s to the mid-1980s,represented by the fourth-generation directors,quoted the lyrical means of China's classical poems,took"people"as the center and emotions as the main body,and restored the authentic and complete state of people with the help of the expanding film language.The film performances of this period exhibited the aesthetic quality of straight narration,analogy and association,not only matching the concept of de-dramatization with the expression of suppressed and subdued emotions,but also closely cooperating with the expanded audiovisual approaches.The realistic,lyrical and poetic performance paradigm presented in the films constructed an emotional model and value choice that paid full attention to the authentic life state of"people"at that time.

关 键 词：电影表演 表演美学 赋比兴 诗化 

分 类 号：J912[艺术—电影电视艺术] K27[历史地理—历史学]