新世纪戏曲电影“重返舞台”的创作转向及其美学意涵  

The Creative Direction and Aesthetic Connotation of the New Century Chinese Opera Film"Returning to the Stage"

作　　者：徐健 赵晓红 Xu Jian;Zhao Xiaohong

机构地区：[1]上海大学上海电影学院

出　　处：《上海文化》2024年第8期111-119,共9页Shanghai Culture

基　　金：国家社科基金重点项目《戏曲舞台影像资料整理与数据库建设》(项目号:1AZD136)的阶段性成果。

摘　　要：进入新世纪,戏曲电影迎来了新的发展机遇,创作的多元化也催生出了新的创作理念,在新戏曲本位观的观照下,持续百年的“影戏之争”也似乎找到了一种共融共生的和谐与平衡。以郭宝昌、萧锋和郑大圣三位导演为代表的导演群体,在其戏曲电影作品中通过对舞台空间的重新审视与探索,对舞台意识的充分保留与创新表达,让戏曲与电影两种艺术形式找到了新的融合路径,“重返舞台”的创作思潮及美学追求给戏曲电影的创作和发展带来了更多的可能性。Traditional Chinese opera films have ushered in new development opportunities with the coming of the new century,and the diversification of creation has also given rise to new creative concepts.Under the perspective of the new traditional Chinese opera centered view,the century long"film and television struggle"seems to have found a harmonious and balanced coexistence.The group of directors,represented by Guo Baochang,Xiao Feng,and Zheng Dasheng,have re-examined and explored the stage space in their theatrical films,fully preserved and innovatively expressed stage consciousness,and found new ways to integrate the two art forms of opera and film.The creative trend and aesthetic pursuit of"returning to the stage"have brought more possibilities to the creation of theatrical films.

关 键 词：新戏曲本位观 影戏之争 舞台空间 重返舞台 

分 类 号：J951.2[艺术—电影电视艺术]