科技的梦幻——19世纪末亨利·里维埃对影戏的技术革新  

Technological Dreams-Henri Rivière's Technological Innovation of Shadow Plays in the Late Nineteenth Century

作　　者：李国辉 Li Guohui(College of Humanities,Zhejiang Normal University,Jinhua 321004,China)

机构地区：[1]浙江师范大学人文学院,浙江金华321004

出　　处：《台州学院学报》2025年第2期23-29,共7页Journal of Taizhou University

基　　金：国家社科基金重点项目“‘中国影子’与法国象征主义大众化转型研究”(22AWW008)。

摘　　要：法国的影戏是受到中国影戏的启发而在18世纪出现的一种戏剧样式。到了象征主义时期,随着视觉革命的飞速发展,以塞拉芬影戏为代表的早期影戏,在操纵手段和投影效果上越来越显得缺乏新意。黑猫影戏剧场的艺术家亨利·里维埃面对活动视镜、电影放映机的竞争,决定对影戏进行技术改造。他拓宽了影窗,建造了布景天桥,并利用滑槽来运送图板;用石灰光灯代替煤气灯,并设置了三重光的载体,以便在影窗上带来明暗不同的、动态的色彩效果。作为现代动画电影的雏形,里维埃的技术革新成功地呈现了象征主义艺术家寻求的集体梦幻,实现了影戏的现代化改造。"Ombres chinoises(Chinese Shadows)",inspired by Chinese native shadow plays,was a kind of French drama arising in the 18th century.By the Symbolist age,the shadow pieces of Séraphin's theatre,confronted with the rapid development of visual revolution,had displayed more and more lack of creativity in the manipulative devices and projection effects.Henri Rivière,an artist of the famous Theatre of Chat Noir,facing the competition of Praxinoscope and Cinematograph,decided to improve the Ombres chinoises.He widened the screen,built a hanger cabinet at the backstage,and used slides and rollers to transport decorative panels.He replaced limelight for gas lamp,and established three-layer channel of light,in order to produce different shades of the color and animated images.Rivière's innovation presented successfully the collective dreams that symbolist artists desired,and modernized the French shadow plays.

关 键 词：中国影子 里维埃 集体梦幻 影戏技术革新 

分 类 号：J905[艺术—电影电视艺术]