话剧《活着》与电影《活着》表演风格的差异研究  

Search on the Differences in Performance Styles between the Drama “To Live” and the Film “To Live”

作　　者：王富成 李嘉欣 

机构地区：[1]西安外事学院人文艺术学院,陕西 西安

出　　处：《交叉科学快报》2024年第4期456-461,共6页Interdisciplinary Science Letters

摘　　要：本文旨在深入且全面地探讨话剧《活着》与电影《活着》在表演风格方面的差异。通过细致入微地对比分析二者在演员肢体语言、表情管理、台词处理以及与观众或镜头互动等多个维度的不同表现,深刻揭示这两种艺术形式在呈现同一经典故事时各自独特的表演特征。研究结果表明,话剧表演具有更为显著的夸张性、即时性和空间性特点,而电影表演则更倾向于内敛、细腻,并对镜头语言有着高度的依赖。这种差异不仅生动体现了话剧和电影这两种艺术形式自身的固有属性,还为观众理解和欣赏不同版本的《活着》开辟了新的视角,同时也为表演艺术在不同媒介环境下的实践提供了极具价值的参考依据。This paper aims to conduct an in-depth and comprehensive exploration of the differences in performance styles between the drama “To Live” and the film “To Live”. Through a meticulous comparative analysis of the different manifestations of the two in multiple dimensions such as actors’ body language, expression management, line handling, and interaction with the audience or the camera, it profoundly reveals the unique performance characteristics of these two art forms when presenting the same classic story. The research results show that drama performance has more prominent features of exaggeration, immediacy, and spatiality, while film performance tends to be more introverted, delicate, and highly dependent on camera language. These differences not only vividly reflect the inherent attributes of the two art forms of drama and film themselves but also open up new perspectives for the audience to understand and appreciate different versions of “To Live”. At the same time, it also provides an extremely valuable reference for the practice of performing arts in different media environments.

关 键 词：话剧《活着》 电影《活着》 表演风格 差异 

分 类 号：J82[艺术—戏剧戏曲]