从接受美学的维度看影视剧中曹操形象的塑造

A Survey on the Screen Image of Cao Cao from the Perspective of ReceptionAesthetics

中国史传文学发达,历史人物常常成为文学、戏曲等艺术描绘的对象。由于受不同时代的历史氛围、审美思想、道德评判、个性创作等因素的影响,历史人物的艺术形象很难做到历史真实与艺术真实的完美统一,往往存在或多或少的差异,这给当代影视改编带来很大困惑。尤其像曹操这样的历史人物,其历史形象和艺术形象呈现不同向度的矛盾,历来存在争议,在影视创作时,影视作者对其影视形象的定位就非常困难。《三国》题材的影视作品多达百部,大多直接或间接描写曹操这一人物,其影视形象也呈现出丰富、复杂、矛盾的面貌。从接受美学的维度看,曹操影视形象的塑造,正是影视编剧、导演、演员对其历史形象和艺术形象的接受。

The flourished Chinese historical literature has helped to bring historical personages into literature and traditional opera. However, being influenced by different historical background, aesthetic ideologies, moral judgment and creative personalities, the artistic image of historical images always differ from its original image and it is difficult to achieve the unification of historical reality and artistic reality, which puzzles the adaption of film and television programs. Cao Cao is a typical example. As there are many debates about his historical image and artistic image, it has become a tough task to reallocate the image of Cao Cao in films and television plays. Up to now, in China, there are no less than one hundred Three-kingdoms- themed plays, which have directly or indirectly related to the image of Cao Cao. Therefore, his screen image has become rich, marvelous and contradictory. From the perspective of reception aesthetics, the shaping of Cao Cao＇s image is the editors＇, directors＇ and actors＇ reception of Cao Cao＇s historical image and artistic image.