从戏曲电影发展史看影戏关系的嬗变——兼论戏曲与中国电影民族化
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摘要
多样性和多元化是文化艺术的生命力所在,电影的民族特色是构成多样性的重要特征。综观世界电影的不同民族流派,从传统戏剧、歌舞、诗歌等艺术形式中汲取灵感来塑造电影民族性的案例比比皆是。在中国,戏曲被认为是融合了中国古典审美意象和民族传统艺术形式的综合艺术,百年来,无论是对影戏的理论研究还是融合两种艺术形式的创作实践都积累了丰富的经验和案例。对于中国电影民族化问题的讨论,重新审视戏曲和中国电影的关系无疑具有现实意义和重要价值。
Variety and diversity make up the essence of culture and art, and the national characteristics of films constitute an important feature of diversity. A close look at different national genres of world films, there are many cases of drawing inspiration from traditional drama, singing and dancing, poetry and other artistic forms to shape the national character of films. In China, opera is considered to be a comprehensive art form that integrates Chinese classical aesthetic imagery and traditional national art forms. Over the past century, both theoretical research and creative practice of the two art forms have accumulated rich experience and samples. With regard to the discussion of the nationalization of Chinese films, it is undoubtedly of practical significance and important value to reexamine the relationship between Chinese opera and Chinese films.
Variety and diversity make up the essence of culture and art, and the national characteristics of films constitute an important feature of diversity. A close look at different national genres of world films, there are many cases of drawing inspiration from traditional drama, singing and dancing, poetry and other artistic forms to shape the national character of films. In China, opera is considered to be a comprehensive art form that integrates Chinese classical aesthetic imagery and traditional national art forms. Over the past century, both theoretical research and creative practice of the two art forms have accumulated rich experience and samples. With regard to the discussion of the nationalization of Chinese films, it is undoubtedly of practical significance and important value to reexamine the relationship between Chinese opera and Chinese films.
引文
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[3] 施旭升.中国戏曲审美文化论[M].北京:北京广播学院出版社,2002:4.
[4] 《电影艺术词典》编辑委员会.电影艺术词典[Z].北京:中国电影出版社,1986:20.
[5] 高小健.中国戏曲电影史[M].北京:文化艺术出版社,2005:14.
[6] 平凡.戏曲电影在当代[C].国家教师科研专项基金专项成果(华声卷3),2016:70-74.
[7] 岑范,张悦.《红楼梦》:艺术经典轰动内地及港澳[N].新京报,2004-10-26.
[8] 田汉.《斩经堂》评[J].联华画报.1937,9(5).
[9] 卡冈.艺术形态学[M].凌继尧,金亚娜,译.上海:学林出版社,2008:6.
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[12] 王政.中国戏曲母题学与母体数据库的建设[J].中国戏曲,2006(8):61-62.
[13] 罗艺军.20世纪中国电影理论文选:上册[M].北京:中国电影出版社,2003.
[14] 乔吉.作今乐府法[G]//秦学人,侯作卿.中国古典编剧理论资料汇集.北京:中国戏剧出版社,1984:3.
[15] 罗艺军.20世纪中国电影理论文选:下册[M].北京:中国电影出版社,2003:6-7.
[16] 张靓蓓.十年一觉电影梦·李安传[M].北京:人民文学出版社,2007:282-283.