1956年中国电影表演美学述评

An Analysis of Performing Aesthetics of Chinese Motion Picture in 1956

1956年是一个重要的电影年份,表演美学从行为表演演变到内心表演,从纪录片式表演发展到体验性表演,呈现出一个文化时期的表演气质和面貌。表演日渐举重若轻,有"放得开、收得拢"的层级;表演诗意荡漾,情感有所丰盈;表演以内心体验为原则,角色个性不断显现;表演呈现类型风格,美学样式逐至多样;表演队伍多元,非"工农兵"形象也有"春天",是"左翼电影"升级到"人民电影"以及"双百时代"的"双百电影"的美学产物。

The year of 1956 was of special significance for motion picture.The performing aesthetics of motion picture displayed new characters and features,which evolved from behavioral performances to inner performances and from documentary-style performances to experiential performances.Performances were conducted with ease,and performers came up to a high standard of“performing with no restriction but not out of control.”Film stars’performances were poetic and full of emotion based on their inner experiences in order to illustrate the roles’characters.The performances displayed generic styles,and their aesthetic modes were diverse.The performing units also became diversified,and non-“worker-peasant-soldier”images could find their niches.This aesthetics was an outgrowth of the upgrading of“Left-wing Films”to“People’s Films”and to“Hundred-Flower Films”during the“Hundred Flower”period.