摘要
元杂剧《窦娥冤》是中国戏曲史上最为重要的艺术作品,因其经典性使然故被多次改编成为戏曲电影,其中又以蒲剧版本改编最为知名,先后三次的电影改编均在艺术表现上取得了创新性突破,且在受众中具有广泛的影响力,成为中国戏曲电影作品中的经典。本文以三部蒲剧版《窦娥冤》为基础,其中又以2020年版为中心,分别从场景转换、镜头呈现、表演方式以及蒙太奇设计等四个面向,剖析其成功改编背后的成因,继而为戏曲改编电影创作循峰觅径。
As the master of Zaju of the Yuan Dynasty,Drama Dou E Yuan is made into Pu opera film because of its canonicity,the version of Pu opera film is well known for the audience,three successive film adaptations of which have made innovative breakthroughs in artistic expression and have a wide influence among the audience,becoming classic in Chinese opera film.Based on the three different versions of Pu opera film,among which the 2020 edition is the center.This article focuses on scene transition,shot presentation,ways of performance and montage design,analyzing the reason of adaptation,providing a successful adaptation path for the creation of the opera film adaptation.
作者
李小刚
LI Xiaogang(Department of Chinese,Yuncheng University,044000,Yuncheng,China)
出处
《北方工业大学学报》
2022年第5期133-139,共7页
Journal of North China University of Technology
基金
山西省哲学社会科学规划项目“新中国成立以来黄河流域山西段戏曲研究史”(2020YJ185)
山西省高等学校人文社会科学重点研究基地(黄河文化生态研究院)项目“20世纪以来的山西戏曲研究史”(HH202015)
山西省高等学校人文社会科学重点研究基地项目“非遗传承背景下黄河流域山西段戏曲研学探微”(20210149)。
