戏曲电影：中国电影学派的重要形式探索——从《杨门女将》看戏曲与电影的形式互鉴及美学效果

Chinese Opera Films as Innovative Exploration of Chinese Film School:Analysis on the Aesthetic Interaction between Opera and Film——Based on Yangmennvjiang

戏曲电影是中国特有的一种电影类型。中国传统戏曲艺术蕴含着丰富的传统美学内涵,如何与诞生于工业时代的电影结合,成为几代中国电影人和戏曲艺术家不断孜孜探索的一个命题。戏曲舞台上的时空呈现与转换都基于演员的表演,这种景随人动的自由与灵活决定了戏曲空间造型的大写意。当戏曲移植到电影中时,电影本性对空间呈现的要求发生了根本性的改变,从《杨门女将》的空间处理上可以看到,戏曲表演中"看到情景交融中的人的行动"的本质并未改变,戏曲空间的复杂性与多重性在《杨门女将》中并没有因其与电影空间特性相违背而被取消,而是用景别大小和前后景虚实的关系等手段来分隔空间。更重要的是,创作者以对人物表演的聚焦,弥补了视觉空间中的矛盾,用丰富生动的镜语有效地模糊了空间的边界,在虚实之间找到演员与观众的情感连接,化虚为实,自然地完成了戏曲的电影化。

Opera film is a typical example of Chinese movies. Traditional Chinese operas contain plentiful aesthetic effects,so the question of how traditional arts combine with movies born in the industrialized times and has always been a hot topic for generations of Chinese movie makers and opera artists. The representations and transformations on opera stage are based on actors’ performance,and the freedom and the flexibility of the fact that scenes vary from people determine the greatness of operaspace configuration. There is a radical change in space representation required by movies when operas are transplanted into movies. It can be seen, from the space methods in the Yang’s Female Generals,that the essence of combination between people’s activities and situations does not change,and the complexities and multiplicities are not canceled because of the contradictions with movie space characteristics. Instead,methods like shooting scales and adjustment between foreground and background relations are adopted to separate space. What’s more,movie makers focus on the performance to compensate the contradictions in visual space. They also use vivid cinematic presentation to blur the space boundaries,and find the emotion link between actors and audience to convert the virtual into reality to naturally achieve the integration of operas and movies.