伯格曼的表演观

On E. Ingmar Bergman’s Views of Performance

不同的导演有着不同的表演观，不同的银幕表演的美学追求。研究、学习、借鉴世界电影大师的表演观，对于提高我国导演的处理表演的水平及银幕表演水平将大有裨益。艺术形象从史学转化为银幕的。决不足单靠演员的表演所能完成的。影片的艺术创作足以导演为中心。

Different ideas of performance reflect different aims taken by different directors. The performing style in Bergman’s films 'combines superb acting skills with impromptu performances in order to give play to an actor’ s identity'. He fused into one the superb acting skills of drama and the aesthetics of film performance. As a great master both of drama and of film, Bergman directed over 70 dramas and almost 60 films. He began directing drama in his school days. His experiences in stage art greatly contributed to, and can not be seperated from, his achievements in directing performance in his films. He often explored such underlying problems of life as the meaning of human existence, God’s existence, life and death, loneliness, and so forth. Given by Bergman’s preferences, his actors and actresses have been able to express well internal conditions. Bergman is a master of 'micrology'. The performances directed by him are wonderful indicators of states of mind. He used a large number of close-ups with expressive appearances in faces to reveal the internal storms of being. To any actor, this close-up is both a challenge and a temptation. With respect, trust and love, Bergman cooperated with his actors and actresses. The special strengths of his actors and actresses were not neglected when he was involved in writing scripts. Consequently, many characteristics of dramatic (non- filmic) acting appeared in his films. His message to us: what a professional performer should do is to make a deep understanding of the aesthetic particularity of film, and meanwhile to master excellent acting skills.