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我认为这一长达五十集的电视室内剧的成功,重要因素之一,是与演员们的表演艺术创作分不开的。我们曾研究过话剧、电影、电视表演的异同,那么,室内剧的表演有什么艺术特点呢?它对演员们的要求又是什么呢?这里不妨对《渴望》的艺术实践做点探讨。我以为它应是程式化最弱的一种表演;是“内”多于“外”的表演;是具有戏剧、电影兼容性的表演;也是对演员表演素质要求较高的一种表演。程式化最弱的表演与戏曲、话剧相比较,电影表演是程式化很弱的表演;如果这种说法可以成立的话,那么,室内剧更应是程式化最弱的表演了。电视表演本来就具有日常生活性和交流亲切感,而室内剧从它的题材到录制的工艺过程,更决定了它在表演上的这一艺术特性。室内剧选材大多偏重写实,往往表现的是人们日常生活中遇到的问题,以家庭生活、伦理道德等为内容,这在表演上就不大会采取写意的方法。同时,它采用多机拍摄、同期录音,现场切换、一次完成的生产工艺,这使导演对演员的安排不能过于妥贴,演员自身对动作的设计也不可能十分精细,所以,演员表演的过程是在“现场”情况下的瞬间变化,特别是演员获得了
I think one of the important factors in the success of this 50-episode TV room play is inseparable from the performers’ performance of performing arts. We have studied the similarities and differences between drama, film and television. So what are the artistic characteristics of the performance of the indoor drama? What are the requirements of the performers? Here, we may discuss the artistic practice of “longing for”. I think it should be one of the weakest stylized performances; it is more than “outside” performances; it is a theater and movie compatible performance; it is also a performance that requires a high performance of performers. Compared with drama and drama, the weakest programming is a poorly programmed performance. If this is true, then the drama should be the weakest programming. Television shows are inherently everyday and intimate, and the in-theater dramas from its theme to the recording process determine the artistic characteristics of the show. In fact, the dramas of the in-theater dramas emphasize realism and often show problems encountered by people in their daily life. Content such as family life and ethics is not taken in the performance. At the same time, it uses multi-camera shooting, simultaneous recording, on-site switching, a complete production process, which makes the director of the arrangement of the actors can not be too properly, the actor’s own design of the action can not be very fine, so the process of performers It’s an instant change in the “live” situation, especially when the actor gets it