论戏曲电影的叙事修辞

On the Narrative Rhetoric of Chinese Opera Film

戏曲电影是一种用戏曲式的影像动作叙事的艺术。舞台表演的镜头剪辑,唱、念、做、打的镜头特写和绝技表演的镜头奇观,是戏曲电影叙事的三大特殊修辞。戏曲舞台分场连接的镜头化、戏曲动作冲突连缀的镜头化和戏曲虚拟时空转换的镜头化,构建的舞台表演的镜头剪辑,是戏曲电影生成的最基本文法,也是戏曲电影获得的戏曲性和电影性的双重叙事意义。而作为唱、念、做、打的镜头特写,则强化了戏曲程式表演的表现,放大了戏曲程式表演细部,锁定了戏曲程式表演的所指,从戏曲程式表演的功能、魅力和想象上,赋予了戏曲电影的“戏曲性”一种新的维度表达。对于电影的奇观镜头,戏曲电影作为一种新的电影类型,在自身的衍变过程中,从戏曲表演特有的“绝技”镜头奇观、“虚幻”场景奇观到“子弹”虚拟奇观,展现了技术对这种电影类型的巨大作用。戏曲艺术的叙事修辞与电影镜头的叙事修辞的相融,产生了丰富的效果,并构成了戏曲电影最具有功效和审美意义的叙事修辞。历史经验说明,戏曲与电影的结合,既是不同的艺术类型之间的结合,也是艺术类型适应社会及自身生存的一种方法和途经。在这种意义上说,戏曲电影既是艺术自身的变革,也是艺术适应社会的变革。将电影的叙事修辞完美地运用在具有特殊民族风格的戏曲叙事上,在坚持戏曲叙事修辞的基础上,创造性地发挥电影作为工业的现代叙事品格,是戏曲电影必须走通的途径。

Chinese opera(xiqu)film is a film art which adopts an opera-like narrative of images and actions.Camera editing of stage performances,close-up shots of singing,acting,recitation and acrobatics and spectacular visual effects of camera lenson stunt performances are three special rhetorical devices in the narrative of Chinese opera films.Firstly,camera editing,mainly including connecting lens of different stages,putting together and editing lens of conflicting opera actions and shifting lens of virtual opera time and space,constitutes the fundamental means of making a Chinese opera film and endows it with dual narrative significance of film and Chinese drama.Secondly,close-up shots of singing,acting,recitation and acrobatics strengthen the effect of the procedural performance of Chinese opera by magnifying its fine details,clarifying its referents and in terms of its function,charisma and imagination adding a new dimension of“drama elements”to Chinese opera film.Thirdly,spectacular visual effects of camera lens demonstrate the enormous importance of technologies in the evolution of Chinese drama film as a new film genre,ranging from astonishing“stunts”unique in Chinese drama performance,to“illusory”spectacles of scenes and to the virtual“bullets”flying.The“fusion”of the narrative rhetoric of Chinese opera art and that of film lens produces a larger effect than the combined effect of the two,and still more importantly,results in the most effective and aesthetically significant narrative rhetoric of Chinese opera film.Historical experience shows that the fusion of Chinese opera and film is not only an integration of two different art forms,but also a channel of art adaptation to the society and a way of survival.In this sense,Chinese opera film is the outcome of the self-revolution of arts as well as the adaptation of arts to social changes.How to effectively“apply”the narrative rhetoric of film to the narrative of Chinese operas with ethnic characteristics,and how to creatively give full play to the film narrative which is typical of modern industries while adhering to the opera narrative rhetoric,is a pathway thatChinese opera film has to follow.