摘要
新中国成立初期,电影演员及其表演美学发生重大变化,包括身体与表演的集合规训,在两支队伍四个阵营的电影演员队伍结构中,解放区籍的电影演员是"工农兵电影"的政治和美学示范者,国统区籍的电影演员则出现了成功转型、融和不顺、误读被批等三种现象。在表演美学上确立"阳刚之美"创作原则,要"综合最好的来写",是"健美的、活泼愉快的"形象模板;电影产业的"国有体制",也从出品方的角度规范电影表演,它需要审美的"浪漫和激情"。它以一种"高昂、明快与浪漫主义的艺术激情",呈现出光辉、激动和"紧张",成为一个时代的精神纪录以及文化记忆。
Film actors,actresses,and their performing aesthetics changed greatly in the early years of the People's Republic of China,involving the ollective discipline of body and performance.Actors and actresses from the liberated areas were political and aesthetic models in"worker-peasant-soldier films",while those from the KMT-controlled areas succeeded or failed to transform or were wrongly criticized.Performing aesthetics established masculine beauty as its new prineiple,and required"healthy,lively,and pleasant"products showing the"best qualities".The state-owned film industy also demanded"romanticism and passion".The movies of the time were positive,bright,passionate,and"tense",rflecting their social and cultural background.
作者
厉震林
LI Zhenlin(School of Film and Television,Shanghai Theatre Academy,Shanghai 200040)
出处
《文化艺术研究》
CSSCI
2020年第3期96-102,共7页
Studies in Culture and Art
基金
国家社科基金艺术学一般项目"新中国电影表演美学史述"(项目编号:15BC035)的阶段性成果。
关键词
自律
他律
新中国成立初期
电影表演生态
autonomy
heteronomy
the early years of the People's Republic of China
ecology of film performance
