虚拟与写实的存在美——从《霸王别姬》到《梅兰芳》

The Beauty of Realistic and Fictitious Narration

《霸王别姬》和《梅兰芳》两部影片有着重叠的时代背景,相似的京剧题材、相同的京剧大师、一样的爱恨纠葛情景,而相同的时代,相同的身份,却是两种完全不同的命运。在叙事表现上,《霸王别姬》是将时代融入人物命运里,《梅兰芳》则是将人物融入时代中;在叙事风格上,《霸王别姬》采用的是虚拟的叙事手法,而《梅兰芳》则采用的是写实风格;在角色设计和人物关系设置上,两部影片都具有一种趋同中变进的特点。同为京剧体裁影片,《梅兰芳》让我们看到了陈凯歌的回归,也让观众重温了国粹的魅力,同时也让我们看到了陈凯歌的转型。

The two films, Bawang Biefi （Farewell to My Concubine） and Mei Lanfang （Forever Enthroll） have presented the similar background of the times and opera subject matter, the same opera master and situation with love and hate entangled. But two completely different fates have been presented. In narrative expression, the former emerges the times into the fate of its characters, whereas the latter let its characters approach the times ; in narrative style, the former uses fictitious narration, whereas the latter realistic style; in characters＇ design and relationship, the two tend to the same. So Mei Lanfang shows Chen Kaige＇s return and change and relives the charm of the quintessence of Chinese culture to the audience.