中国早期电影导演的“化人”观与戏曲美学

The Concept of “Hua Ren” of Early Chinese Film Directors and the Aesthetics of Traditional Operas

“化人”观是中国早期电影导演思想世界中不容忽视的客观存在。不论是郑正秋提出“化人”这一命题并阐释为“化作剧中人”,还是欧阳予倩强调演员要能“容受”以“化成剧中人”,抑或费穆重视表现角色之“灵魂和外型”,皆可见出这一点。倘若追溯“化人”观之渊源,不难发现其与戏曲美学存有“血缘关系”。从郑正秋的“声情俱妙”,到欧阳予倩的“合乎戏情”,再到费穆的“传神”,皆可见出这一“血脉相通”。

The concept of “Hua Ren” is an objective existence that can not be ignored in the ideological field of early Chinese film directors. This can be seen from the following facts: Zheng Zhengqiu put forward the concept of “Hua Ren” and interpreted it as “becoming a dramatist”;Ouyang Yuqian stressed that an actor should be able to “accept” to “turn into a traditional opera actor/actress”;Fei Mu attached importance to performing the “soul and appearance” of the role. If we trace the origin of this concept, it is not difficult to find that it has a “genetic connection” with the aesthetics of traditional operas. This “genetic connection” can be seen from Zheng Zhengqiu’s “be excellent both in voice and emotion”, Ouyang Yuqian’s “in line with the situation of traditional operas” to Fei Mu’s “vivid”.