身份·理论·策略:1945—1949年中国电影民族化表演述评

Identity,Theory,Strategy:A Review of the Nationalized Performance of Chinese Films from 1945 to 1949

1945—1949年,随着表演理论的进一步传播,大量电影演员自觉承担起"人格重建"的责任,他们一方面以"名演员"身份四处活动,周旋于各种势力之间,另一方面积极从事进步性创作,以人道主义和平民意识投身到民族表演艺术的探索之中。20世纪30年代的左翼电影活动也改变了20年代的影戏表演观,一些有抱负的演员迫切希望能够掌握一套比较完善的、科学的表演理论和方法。

From 1945 to 1949,with the growing dissemination of performance theory,a large number of film actors consciously took upon themselves the responsibility of engaging in“personality reconstruction”.On the one hand,they mingled with various forces and actively engaged in progressive creation as their quality of“famous actors”,while on the other,they devoted themselves to the exploration of national performing arts with a humanitarian and civilian consciousness.The left-wing film activities of the 1930s also changed the perception of film performances in the 1920s.Hence,some aspiring actors became eager to master a set of relatively complete and scientific performance theories and methods.