發(fā)布時間：2018-07-09 10:06

  本文選題：人物弧光 + 戲劇　； 參考：《東北師范大學(xué)》2013年碩士論文

【摘要】：“人物弧光”作為編劇塑造人物的一種創(chuàng)作技巧，一直深受好萊塢的歡迎。所謂“人物弧光”就是人物本性的發(fā)展軌跡或者變化，無論是變好還是變壞。它具備隱蔽性、動態(tài)性、對抗性和漸進(jìn)性等特點，其中動態(tài)性包括變化、發(fā)展與成長，這也是“人物弧光”與“性格流動性”“性格成長說”存在差異的地方，即“人物弧光”的維度更寬廣。而在電影誕生以前，，戲劇和文學(xué)承擔(dān)了塑造人物的任務(wù)。所以溯源“人物弧光”，就要回望人物在戲劇舞臺與文學(xué)世界中的閃現(xiàn)。在戲劇舞臺上，雖然在古希臘時代就已經(jīng)出現(xiàn)性格相對復(fù)雜的人物，但是真正讓出現(xiàn)性格出現(xiàn)流動性卻是在伊利莎白時代。而18世紀(jì)的“成長小說”則讓人物具備了明顯的“人物弧光”。發(fā)展到今天，“人物弧光”更是普遍存在在眾多影視劇中�！叭宋锘」狻钡拇嬖趦r值不僅在于劇作的需要、觀眾的需要、現(xiàn)實的需要，更是對編劇水平的檢驗。“人物弧光”的研究價值則在于一是國內(nèi)研究理論少，二是基于國產(chǎn)電影的正反啟示，三是為了實踐。那么如何創(chuàng)造“人物弧光”呢？本文結(jié)合國內(nèi)外劇作家和學(xué)者們的觀點，同時分析具體案例，嘗試總結(jié)出一些經(jīng)驗方法——首先應(yīng)該在設(shè)置人物方面應(yīng)該為人物設(shè)置背景故事、缺點和意志力；其次，要給予故事足夠的沖突，才能讓人物有足夠的反應(yīng)和選擇，即動作。當(dāng)然最為重要的，是讓“人物弧光”伴隨結(jié)構(gòu)逐漸生成。本文將結(jié)合電影（如《辛德勒名單》）案例，看人物如何在開端、發(fā)展、高潮、結(jié)尾中完成“人物弧光”。
[Abstract]:As a creative skill of screenwriters, Arc has always been popular in Hollywood. The so-called "character arc" is the development of human nature or changes, whether for better or worse. It has the characteristics of concealment, dynamic, adversarial and gradual, among which dynamic includes change, development and growth, which is the difference between "character arc" and "character fluidity" and "character growth theory". In other words, the dimension of "character arc" is wider. Before the birth of the film, drama and literature took on the task of portraying characters. Therefore, tracing back to the arc of characters, we should look back at the flash of characters in the theatrical stage and literary world. On the stage of drama, although relatively complicated characters appeared in ancient Greece, it was in Elizabeth's time that the appearance of character appeared fluidity. And the 18 th century's "growth novel" makes the characters have a distinct "character arc". To this day, the Arc of characters is ubiquitous in many movies and TV dramas. The existence value of the character arc lies not only in the needs of the play, the audience and the reality, but also in the test of the writer's level. The research value of "Arc of characters" lies in the lack of domestic research theory, the positive and negative enlightenment based on domestic films, and the third is for practice. So how to create the "character arc"? Based on the viewpoints of domestic and foreign playwrights and scholars, this paper tries to sum up some empirical methods by analyzing specific cases. Firstly, we should set up background stories, shortcomings and willpower for characters in setting up characters; secondly, Enough conflict must be given to the story in order to give the character sufficient reaction and choice, that is, action. Of course, the most important thing is to let the "character arc" with the structure gradually generated. Based on the case of the film (such as Schindler's list), this paper will see how the characters finish "Arc" in the beginning, development, climax and end.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J904

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 姚崇實;黑格爾人物性格論[J];承德民族師專學(xué)報;1998年01期

2 呂遠(yuǎn);;“英雄的歷程”——好萊塢主流故事模型分析[J];當(dāng)代電影;2010年10期

本文編號：2109009