摘要
戏曲电影在中国实践的一百余年中,对于电影和戏曲的融合一直在不断尝试。其中处理好舞台艺术戏曲和电影之间的关系更能促进二者融合并共同发展。但近年戏曲电影研究对昆曲电影的关注较少,文章采用了对比分析的方法,对1986年电影版《牡丹亭》和1987年舞台版《牡丹亭》的选段《游园惊梦》从调度、景别和表演方式做了对比分析。电影版《牡丹亭》基本尊重了舞台版的内容核心,并利用镜头语言塑造出更细腻的人物形象,还营造了中国水墨画般的美学质感。电影版与舞台版互为补充,可以促进电影和昆曲共同发展。
Over a hundred years'development of Chinese opera movie,processing the relationship between the stage performance and Chinese opera movie is the crucial point to promote the fusion of movie and Chinese opera.Recently,the researchers on Chinese opera movie haven't paid closer attention to Kunqu Opera Movie.This paper adopted the contrastive analysis to compare the stage scheduling,scene setting and the performance between two cases,which were the movie version of Peony Pavilion in 1986 and the stage version in 1987.This research shows that the key of success in the movie Poney Pavilion was due to its displaying aesthetic characteristic of Chinese landscape painting.Although the shooting skill was conservative,the shot enabled to shape more exquisite characters.Meanwhile,the movie followed the core contents of the stage version.Hence,the two version of Poney Pavilion could devote to the joint development on both movie and Kunqu Opera.
出处
《民族艺林》
2020年第3期81-87,共7页
Journal of Ethnic Art
