本文選題：新時(shí)期 + 戲劇觀(guān)�。� 參考：《西南大學(xué)》2013年碩士論文

【摘要】：沒(méi)有一門(mén)藝術(shù)能像戲劇一樣和電影有著如此緊密的關(guān)系,電影誕生之后,戲劇對(duì)電影的影響從未間斷。同為綜合藝術(shù),兩者的聯(lián)系和區(qū)別,一直是學(xué)者們討論的熱點(diǎn)之一�；蛘哒f(shuō),戲劇更像電影的教父,有聲電影問(wèn)世后,戲劇才真正意識(shí)到了迸發(fā)強(qiáng)勁生命力的新興藝術(shù)帶來(lái)的威脅,于是梅耶荷德提出了將“戲劇電影化”改造戲劇的口號(hào)�；仡欕娪鞍l(fā)展史,電影卻是在“戲劇化”的道路上一路前進(jìn),給早期電影帶來(lái)繁榮。二三十年代的美國(guó)好萊塢電影和三四十年代的中國(guó)電影是“戲劇化”電影的典型,在電影起步的初階期,戲劇元素的融合使電影貼近觀(guān)眾,進(jìn)而取得作為藝術(shù)的一席之地。 到了70年代末80年代初,走出文化浩劫的藝術(shù)界,尋求藝術(shù)新路、擺脫陳規(guī)窠臼的渴望尤其熾烈。針對(duì)之前電影兒乎淪落成了用電影攝制設(shè)備拍攝出的戲劇“樣板戲”,各種原則嚴(yán)重束縛了電影的自由發(fā)展的狀況,電影工作者們以高度的責(zé)任感和熱情投入進(jìn)這場(chǎng)討論,電影界興起了電影觀(guān)念的論辯,這其中最重要的論爭(zhēng)點(diǎn),其實(shí)都和戲劇有關(guān)。同時(shí),戲劇界也針對(duì)新時(shí)期新情況,突破傳統(tǒng)寫(xiě)實(shí)的束縛,對(duì)寫(xiě)實(shí)的話(huà)劇大膽形式創(chuàng)新,并展開(kāi)了關(guān)于戲劇觀(guān)的討論,而戲劇界對(duì)戲劇觀(guān)的討論,也和電影的發(fā)展不無(wú)關(guān)系。 本文以新時(shí)期頭十年的戲劇觀(guān)和電影觀(guān)念為研究對(duì)象,對(duì)其進(jìn)行觀(guān)點(diǎn)梳理分析,進(jìn)而對(duì)比新時(shí)期戲劇觀(guān)和電影觀(guān)念交叉和變軌,分析觀(guān)點(diǎn)、對(duì)比異同,希望通過(guò)梳理論辯觀(guān)點(diǎn),呈現(xiàn)出激情時(shí)代論辯的價(jià)值。論文主要分為三部分。第一部分,分析新時(shí)期戲劇觀(guān)論辯；第二部分,分析新時(shí)期電影觀(guān)念的論辯；第三部分,分析新時(shí)期戲劇觀(guān)和電影觀(guān)念的交叉和變軌。
[Abstract]:No art has such a close relationship with film as drama, and the influence of drama on film has never been interrupted since the birth of film.The connection and difference between the two are always one of the hot topics discussed by scholars.In other words, drama is more like the godfather of film. After the sound film came out, the drama really realized the threat brought by the burgeoning art of strong vitality, so Meyerhoud put forward the slogan of transforming drama into film.Looking back at the history of film development, the film was advancing along the way of dramatization, bringing prosperity to the early films.American Hollywood films in the 1920s and 1940s and Chinese films in the 1930s and 1940s are typical of the "dramatic" films. In the initial stage of the beginning of the film, the integration of the drama elements makes the film close to the audience and then obtains a place as an art.By the late 1970s and early 1980s, the desire to get out of the cultural catastrophe of art, to find new ways of art and to get rid of stereotypes was particularly strong.In view of the fact that films were reduced to "model operas" filmed with film production equipment before, and that various principles seriously constrained the free development of films, the filmmakers engaged in this discussion with a high sense of responsibility and enthusiasm.The film industry has sprung up a debate about the concept of film, the most important of which, in fact, is related to drama.At the same time, according to the new situation in the new period, the theatrical circles break through the shackles of the traditional realism, innovate the realistic drama bold form, and launch the discussion about the drama view, and the drama circles' discussion on the drama view also has something to do with the development of the film.This article takes the drama view and the movie idea of the first ten years of the new period as the research object, carries on the analysis to its viewpoint, then contrasts the new period drama view and the movie concept crossover and the transformation, analyzes the viewpoint, contrasts the similarities and differences, hopes through combing the argument viewpoint.It presents the value of debate in the age of passion.The paper is divided into three parts.In the first part, the author analyzes the debate of the new period drama view; the second part, the new period film concept debate; the third part, analyzes the new period drama view and the movie concept intersection and the transformation.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J909.2

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本文編號(hào)：1760006