【作者】 邵雯艳；

【导师】 周秦；

【作者基本信息】 苏州大学 ， 戏剧影视文学， 2010， 博士

【摘要】 纵观百多年来华语电影的发展历程,对中国戏曲有意无意地表现、学习、借鉴,自觉不自觉地继承、坚持和升华,造就了华语电影特定民族化的呈现。在全球化的语境中,中国戏曲作为民族传统艺术,华语电影和中国戏曲的密不可分作为华语电影的历史传统,华语电影和中国戏曲的关系是研究华语电影历史、现实和未来走向必需直面的议题。华语电影和中国戏曲在艺术本体上的互通保证了此项研究的可行性。针对两者关系的论述或隐或显地贯穿华语电影理论研究的历史,构成其中最具有民族特色的内容之一。在以往的研究中,中国戏曲的独特性或淹没在了中西戏剧模糊一体的概念中,或作为民族传统艺术整体中的局部而未能凸显,因此,华语电影和中国戏曲的关系并未得到专门、具体和充分、透彻的关注。本论文紧扣华语电影与中国戏曲的关系展开细密的论述。论文首先回顾了华语电影对中国戏曲的机械复现和主观映现两种不同方式和手段,探究戏曲电影的观念形成,在此基础上就戏曲电影在当前文艺生态环境下与大众审美需求的错位,探讨其商业价值的失落,就两种艺术手段的本质分歧讨论以电影手段表现中国戏曲艺术的难以实现。在对戏曲电影观念和价值的反思后,本文围绕华语电影对中国戏曲的“同化”,即占据主导地位的华语电影吸纳、转化作为客体的中国戏曲的艺术元素因而愈加丰满的现象和可能,展开两者更深层次交互的研究。关于华语电影对中国戏曲的“同化”,从三个层面分条缕析,“华语电影与中国戏曲的歌舞”就歌舞影片与戏曲歌舞、戏曲歌舞片段在华语电影中的功能、华语电影表演技巧与戏曲歌舞技巧,“华语电影与中国戏曲的叙事”就主题表达、题材选择、情节设计、结构安排、叙述视点和人物角色,“华语电影与中国戏曲的诗性”就以诗言志的抒情、淡化情节的叙事、细腻精微的心理、情景交融的意境、心物溶化的意象进行详尽论述。中国戏曲施加于华语电影的巨大影响,也遭遇了不绝如缕的质疑和反叛。其中有电影本体艺术自觉和语言技巧、特征认知的必需,也有在缺乏透彻认识与全面把握之上的草率论断。对中国戏曲形式、内容、美学风格的深入洞察和理解,在尊重电影和戏曲彼此艺术独立性的基础上,多方寻找华语电影“同化”中国戏曲的可能,获得华语电影民族化的市场生存和艺术生长的源泉和依据,本论文开始了艰辛地探索。更多还原

【Abstract】 During one hundred odd years’development history of Chinese language movies, the displaying, learning, using the experience of Chinese opera and inheriting, upholding, raising the art of Chinese opera help Chinese language movies to form their national characteristics. Chinese opera is the national traditional art, Chinese language movies and Chinese opera are closely related, and so in the context of globalization the relationship between Chinese language movies and Chinese opera is an important subject that the researchers must face. The similarities between these two types of artistic forms make this research possible. The discussions on their relationship run through the theory research history of Chinese language movies, and show the brightest national color. In the past researches, the uniqueness of Chinese opera has been drowned in the obscure concept of Chinese and Western drama, or has not been highlighted as a part of the whole national traditional art, and so the relationship between Chinese language movies and Chinese opera has not been specially, particularly, fully and thoroughly discussed.This dissertation centers on the relationship between Chinese language movies and Chinese opera, and presents a detailed analysis. This dissertation firstly reviews two different ways that Chinese language movies act on Chinese opera,mechanical copy and subjective reproduction, seeks the formation of the basic opinion on opera movies. In the current literary and artistic environment, opera movies can’t satisfy the mass aesthetic needs, and their commercial value has lost. The essential differences exist between movie and Chinese opera, so it’s hard for opera movies to display well the art of Chinese opera. After introspecting upon the basic opinion on opera movies and their value, this dissertation revolves round the assimilation between Chinese language movies and Chinese opera. Chinese language movies which hold the leading position, absorb and transform the object, the art elements of Chinese opera, and make themselves richer and more colorful. The deeper mutual relationship between Chinese language movies and Chinese opera is studied. The thorough analysis on Chinese language movies’assimilation with Chinese opera consists of three parts.“Chinese language movies and Chinese opera’s song and dance”is about the relationship between the song and dance movies and Chinese opera’s song and dance, the diverse functions which Chinese opera’s song and dance performances on Chinese language movies, performance skills of Chinese language movies and Chinese opera.“Chinese language movies and Chinese opera’s narration”is about the narrative theme, the narrative material, the design of plots, the narrative structure, the visual angle of narration and characterization.“Chinese language movies and Chinese opera’s poetic quality”is about the emotion’s expression, the plot’s weakening, the exquisite psychology, the artistic conception, and the imagery.The tremendous influence Chinese opera exerts on Chinese language movies has been questioned and rebelled constantly. It’s necessary to recognize movie’s characteristics and its special languages and skills. However, some careless conclusions have been drawn because of lacking the full knowledge and thorough understanding of Chinese traditional drama, Chinese opera. This dissertation tries hard to explore the form, the content and the aesthetic style of Chinese opera, to seek the possibility of Chinese language movies’assimilation with Chinese opera on the basis of their artistic independence, and to gain source and foundation of Chinese language movies’national market existence and art development.更多还原