發(fā)布時(shí)間：2018-08-29 08:03

【摘要】：葛優(yōu)是當(dāng)今中國影壇兼具市場號召力與藝術(shù)地位的優(yōu)秀演員，不論是屢創(chuàng)票房紀(jì)錄的“京味兒”賀歲喜劇，還是具有“史詩”色彩、年代跨越大、人物命運(yùn)跌宕的正劇，抑或是緊扣當(dāng)下現(xiàn)實(shí)、細(xì)膩刻畫“小人物”悲涼無奈的生存困境，他都能以內(nèi)斂、不溫不火的風(fēng)格“輕松”駕馭。本文從葛優(yōu)的成長經(jīng)歷入手，將其飾演的角色分為四類：“京味”喜劇人物形象、生存窘迫、內(nèi)心掙扎的“小人物”形象以及具有幽默色彩甚至立體性格的“反派”形象，，對這位戛納影帝、平民影帝、賀歲影帝所塑造的系列銀幕形象，從語言特點(diǎn)、平民化取向、喜劇風(fēng)格和文化內(nèi)蘊(yùn)四個(gè)方面深入分析與闡釋。 語言是葛優(yōu)塑造人物形象的重要工具，第一章從喜劇和正劇兩種類型分析人物形象的語言特點(diǎn)。其中喜劇形象特點(diǎn)是生活化、日�；木┪队哪Z言，而正劇體現(xiàn)語言風(fēng)格錯(cuò)位現(xiàn)象。第二章立足于斯坦尼斯拉夫斯基表演理論，分析葛優(yōu)塑造人物形象的特點(diǎn)——平民化取向，其中包括本色表演、細(xì)節(jié)塑造、生活化和市井化等特點(diǎn)，進(jìn)一步闡述如何塑造平民形象。第三章圍繞現(xiàn)有作品，從冷幽默中的熱思考、玩世不恭外表下真性情、游戲?qū)ο笕齻�(gè)角度闡述葛優(yōu)如何成為最具辨識度、市場號召力較強(qiáng)的喜劇演員。第四章分析葛優(yōu)銀幕背后的文化內(nèi)涵，并通過與周星馳和新晉小生黃渤飾演的小人物形象對比，探尋葛優(yōu)表演藝術(shù)的特殊性。 研究葛優(yōu)的系列銀幕形象風(fēng)格特征，有助于更好地剖析葛優(yōu)獨(dú)到的表演藝術(shù)，并進(jìn)一步探索一個(gè)好演員對于電影，特別是賀歲電影、喜劇電影的重要作用，對以后的演員表演、電影創(chuàng)作包括劇本創(chuàng)作均有積極的參考作用。
[Abstract]:Ge You is an excellent actor with both market appeal and artistic status in the Chinese film world today. Whether it is a box-office record of "Beijing flavor" New year comedy, or a "epic" style, it is a major drama with a great age and the ups and downs of characters' fates. Or is it close to the current reality, meticulously portray "little man" tragically helpless survival predicament, he can be introverted, not warm style "easy" control. This article starts with Ge You's growing up experience, classifies his characters into four categories: the characters of "Jingwei" comedy, the image of "little man" struggling in his heart and the image of "villain" with humor and even three-dimensional character. A series of screen images created by the Cannes, civilian and New year moviegoers are analyzed and explained from four aspects: language characteristics, populist orientation, comedy style and cultural connotation. Language is an important tool for Ge You to portray characters. The first chapter analyzes the linguistic characteristics of characters from two types: comedy and drama. Comedy is characterized by daily Beijing humorous language, while the Chinese opera embodies the phenomenon of language style dislocation. The second chapter, based on Stanislavsky's performance theory, analyzes the characteristics of Ge You's portrayal of characters-the orientation of populace, including the characteristics of real performance, detail shaping, life adaptation and marketization, etc. Further elaborate how to shape the image of civilians. The third chapter focuses on the existing works, from the hot thinking in cold humor, cynicism under the appearance of true temperament, game object three angles to explain how Ge You became the most recognizable, market appeal comedian. The fourth chapter analyzes the cultural connotations behind Ge You's screen and explores the particularity of Ge You's performing art by contrasting with the image of the little characters played by Zhou Xingchi and Huang Bo. The study of Ge You's series of screen image style features will be helpful to better analyze Ge You's unique performing arts, and to further explore the important role of a good actor in movies, especially New year movies and comedy films, as well as in the performance of future actors. Film creation, including script creation, has a positive reference role.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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本文編號：2210683