20世纪80年代末至90年代中期“反”境电影表演美学研究

A Study on the “Anti-Condition” Acting Aesthetics in Films from the Late 1980s to the Mid 1990s

20世纪80年代末至90年代中期正值中国社会转折与巨变的过渡期。这一时期电影中的表演呈现出“反”境的美学特征。“反”作为老子的思想及言说方式,既是哲学范畴又是美学范畴,兼具“相反”与“返回”两个含义。就“相反”之意而言,“反”才是真正用以说明和显示的具体内容,显现为反面于儒家明德传统价值的另外一种价值取向;就其“返回”之意而言,则是指复归其性、其根,不背离自身本性的归真。在时代过渡期中出现的玩世不恭、疏懒等异行与主流文人传统文化根脉相碰撞后,形成了纵任放诞的“反”境表演美学观。电影中显现出的游戏反讽、闲散疏懒的城市知识青年角色塑造及表演范式,建构了后计划经济时代转型影响下青年人既不作恶也不伪善,迷茫,抵抗,以异行寻找方向的独特言行、情感模式与价值选择。

The late 1980 s to the mid-1990 s witnessed a period of social transitions and changes in China. The acting in thefilms of this period showed the aesthetic characteristics of“anti-condition”. As Laozi’s way of thinking and speaking,“anti”isboth a philosophical category and an aesthetic category,and has two meanings of“contrary”and“return”. As far as the meaningof“contrary”is concerned,“anti”is the specific content that is really used to explain and display,and it appears as another val-ue orientation that is contrary to the traditional value of Confucian morality. In terms of the meaning of“return”,it refers to re-turning to its nature,its roots,and returning to its true nature without departing from its own nature. After the cynicism and lazi-ness that appeared in the transitional period of the times collided with the traditional cultural roots of the mainstream literati,theacting aesthetics of“anti-condition”was formed. In these movies,the game-styled irony and idle characters reflected in urbanintellectual youth,as well as the corresponding acting paradigms led to a unique style in words,deeds,and emotional patterns,revealing the confusion and resistance of young people,who were looking for directions in different ways under the influence ofthe transformation in the post-planned economy era.