戏中戏:陈凯歌双重叙事模式下的历史审美——以《霸王别姬》和《梅兰芳》为例

Stage within Screen: On Chen Kaige’s Historical Aesthetics in Double Narrative Mode in Farewell My Concubine and Forever Enthralled

基于接受理论的思想之上,本文从三个方面论述陈凯歌两部所谓"戏剧片"的叙事特征和历史知识的关系。结论指出,戏中戏的"三维"叙事特征充分发挥了电影传播历史知识的作用,寓教于乐,给观众带来精神享受。

In the light of reception theory, this paper examines the narrative features ofChen Kaige ＇ s two ＂opera films＂ in relation to history from three aspects. It concludes that the tridimensional narrative trait of a film can make the best of space in disseminating historical knowledge. Thus an ＂opera film＂ as such proves to be in a position to both educate and entertain the audience.