表现主义电影表演与导演的中国实践  

The Chinese Practice of Expressionist Film Performance and Directing

作　　者：厉震林[1] LI Zhenlin

机构地区：[1]上海戏剧学院电影学院,上海200040

出　　处：《上海师范大学学报(哲学社会科学版)》2025年第2期85-91,共7页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要：表现主义表演,虽然是20世纪初期欧洲电影的遗存,作为一种美学风格,却在中国电影中不时“显形”。它的基本路线是从淡到浓,从中国电影前期的淡约,到后期的浓郁。它缘于不同的社会文化语境。表现主义更多是属于导演的,而非表演的。表演遵循导演的美学理想以及方向,故而表演与导演形成了一种合作路线,表演是导演表现主义美学的“假面”和“符码”。Expressionist performance,though a legacy of European films in the early 20th century,has occasionally“manifested”as an aesthetic style in Chinese films.Its basic trajectory is from subtle to intense,starting with subtlety in the early stage of Chinese films and evolving into intensity in the later stage.This is due to different social and cultural contexts.Expressionism is more closely tied to directors than to the performance.The performance follows the director’s aesthetic ideals and directions.Therefore,a collaborative approach is formed between the performance and the director,and the performance serves as the“mask”and“code”of the director’s expressionist aesthetics.

关 键 词：表现主义 电影表演 电影导演 中国实践 

分 类 号：J911[艺术—电影电视艺术]