摘要
戏曲片是一种特有片种,是除歌舞片外唯一以影片中的一种艺术元素命名的电影类型。或者说,戏曲片是电影中唯一具有鲜明民族特色的电影类型。基于电影的影像双重性特征,戏曲片从诞生那天起,其功能定位问题就一直没有得到很好解决——除了市场(片厂美学)与叙事(舞台美学)的矛盾及统一,戏曲舞台传统的保存与传承,一直成为困扰戏曲片存在与发展的难以逾越的"鸿沟"。银幕假定性是戏曲片的逻辑与矛盾,也是戏曲片的影像美学基础。与歌舞片不同,戏曲片的银幕假定性在于戏曲自身的程式性。戏曲片的两种基本形态是在解决戏曲片的内在矛盾——程式性矛盾所采取的两种不同的方法与途径后的结果。一种是在戏曲与影像的结合上,旨在如何最大可能地保存戏曲的舞台艺术传统:戏曲的主要艺术特征和精髓;另一种是在戏曲用电影表达后,追求怎么样使影片尽可能地市场化而获取高的票房价值。戏曲片两种基本形态的发生与发展,实际上是对"虚"与"实"的不同运用的结果,这就是戏曲片作为中国特有的电影类型的辩证法:虚实结合,虚实相生。戏曲片是世界电影史上最为特殊,也是仅为华语电影所特有的一种电影类型。戏曲片不仅对中国/华语电影的类型发展做出了巨大贡献,在世界电影的类型发展上也具有重大的意义,是中国/华语电影对世界电影做出的最主要贡献之一。电影的科技进步与数字化发展,为戏曲片的发展打开了类型的空间。不仅仅是审美愉悦,戏曲片作为以民族艺术样式为依托的电影类型片,本身的精神价值也是无可置疑的。
The opera film is a particular genre of movies,as apart from the musical film,it is the only kind that is named after one artistic element.In other words,the opera film is the sole kind of movies that has distinctive national characteristics.On account of the image duality of motion pictures,the opera film has not found its exact orientation of function from the very beginning——other than the conflict between and unity of market（studio aesthetics）and narration（stage aesthetics）,preservation and inheritance of scenic traditions on stage has turned into an insurmountable gap for the development of opera movies.Screen postulation is the logic and paradox of opera films,and it is also the foundation of visual aesthetics.Different from musical movies,screen postulation of opera films lies in conventionalization of the traditional opera itself,as a result of which two basic forms are created in addressing the inner paradox of opera films——conventionalization.One form of opera films is aimed at preserving the stagecraft tradition to the maximum by combing operas and images;the other form presents operas through filming techniques and pursues box office value by maximizing its marketization.The two basic forms arise and develop in the different use of ＂void＂ and ＂solidity＂,which demonstrates the dialectics of opera films as a unique genre of films in China：combination and commutative translation of void and solidity.The opera film is the most special genre of movie in the global film history,and it is also a peculiar kind in Chinese-language films.It makes a great contribution to the type development of Chinese/Chinese-language films as well as global movies,which can be seen as one of the most important contributions of Chinese/Chinese-language films to the world cinema.With the advance of cinematic science and technology as well as digitization,development space of opera movies is further opened.As a type of films relying on national art forms,the opera movie not only provides aesthetic pleasu
出处
《文化艺术研究》
2011年第1期169-198,共30页
Studies in Culture and Art
基金
上海市重点学科建设<电影学>资助项目(编号:S30103)阶段性成果之一
为作者所著<电影艺术论>中第六章"影像类型论"之一节
关键词
影像
虚实
类型
戏曲片
images
void and solidity
type
opera films
