1959年前后中国电影的人性人情表演特色述评

Human Nature and Feelings in the Chinese Film around 1959

1959年前后,中国电影表演从“行为表演”“内心表演”发展到人性人情表演阶段。美好人性人情的表演,塑造了一种具有人格纯粹性和感召性的理想人物;英雄的表演,是一种在英雄的成长过程中体现人性人情的表演;人性人情困厄表演,融入了意识形态表现功能,包含着疏导和引导的规范教育意义;历史反面人物的表演,体现了人性人情的复杂性。这一阶段的电影表演,对于社会主义表演美学把握得更为纯熟,理论的思考深化,表演的眼光提高,美学的标准也得到升华。

Around 1959, the performance in Chinese movies transformed from “the performance of behavior” and “the performance of inner feelings” to “the performance of human nature and feelings”, including the performance of beautiful human nature and feelings that portrays ideal characters with pure and moving personality;the performance of human nature and feelings in a hero’s growing up;the performance of trapped human nature and feelings that incorporates the function of ideological expression, education, and guidance;the performance of the complex human nature and feelings in portraying historical antagonists;a better mastering of socialist performance aesthetics, a deeper understanding of theories, better taste in performance, and a elevated aesthetic standard.