奧斯卡表演藝術(shù)研究
發(fā)布時(shí)間：2018-12-08 17:07
【摘要】：表演是除敘事之外的另一重要影視藝術(shù)美學(xué)要素。在奧斯卡電影藝術(shù)中,奧斯卡影像的獨(dú)特魅力吸引和影響著全世界的觀眾,其中魅力之一就在于演員的表演。奧斯卡表演藝術(shù)有著豐富的實(shí)踐經(jīng)驗(yàn)和表演素材,但是,與敘事藝術(shù)相比較,表演藝術(shù)的理論系統(tǒng)非常薄弱,表演理論的研究相對(duì)來說比較滯后。國內(nèi)外學(xué)者對(duì)于奧斯卡表演的研究很少從電影美學(xué)角度探討其表演策略和美學(xué)機(jī)理,無法揭示表演獨(dú)具魅力的深層美學(xué)機(jī)制。本文將研究視角對(duì)準(zhǔn)奧斯卡表演藝術(shù),目的在于從電影美學(xué)角度探討奧斯卡影像中表演獨(dú)具魅力的深層美學(xué)機(jī)制,發(fā)現(xiàn)奧斯卡影像表演美學(xué)與人性表達(dá)之間的密切關(guān)系。本文把主要研究對(duì)象聚焦于1929年第1屆到2016年第88屆獲得奧斯卡最佳表演獎(jiǎng)的演員及對(duì)應(yīng)影片,把該范疇內(nèi)的奧斯卡獲獎(jiǎng)演員和作品作為一個(gè)有機(jī)統(tǒng)一的藝術(shù)整體進(jìn)行系統(tǒng)的考察和審視,并以最佳影片獎(jiǎng)和最佳表演提名獎(jiǎng)為輔助。論文采用實(shí)證、比較和思辨三種研究方法,以下是本研究的基本框架和主要內(nèi)容:第一章系統(tǒng)梳理了近百年奧斯卡表演藝術(shù)的發(fā)展脈絡(luò),發(fā)現(xiàn)奧斯卡表演藝術(shù)的創(chuàng)新之處。表演藝術(shù)的發(fā)展有一個(gè)與時(shí)俱進(jìn)的發(fā)展過程,藝術(shù)家和觀眾對(duì)表演藝術(shù)的認(rèn)識(shí)、價(jià)值的判斷也有一個(gè)不斷發(fā)展的過程。在奧斯卡影像中,大多數(shù)演員的表演很難用現(xiàn)有的符號(hào)派、明星派和體驗(yàn)派表演來界定,他們的表演并不隸屬于任何一個(gè)表演派別,他們的表演遵循的是人性的法則,因這類表演所占的比重很大,為了將其與其他表演范式相區(qū)別,我們將這種表演單獨(dú)拿出來進(jìn)行考察和研究,并將其定義為奧斯卡表演。第二章將奧斯卡表演與符號(hào)表演、明星表演和體驗(yàn)表演的差異進(jìn)行比較,并借助實(shí)例對(duì)其進(jìn)行縱橫分析,歸納出奧斯卡表演的本質(zhì),重在發(fā)掘出奧斯卡表演獨(dú)有的價(jià)值。明星表演的缺陷很明顯,符號(hào)表演和體驗(yàn)表演都是源于戲劇藝術(shù),所以更加適合在戲劇舞臺(tái)表演,奧斯卡表演是適合鏡頭表現(xiàn)機(jī)制的表演,是表演中的精華和典范,本質(zhì)是一種價(jià)值論表演,以恪守藝術(shù)真實(shí)為基本美學(xué)尺度。第三章表明演員演技的優(yōu)劣在于表演技巧的掌握,深入探討奧斯卡表演的技巧,總結(jié)概括奧斯卡表演的技巧與其他表演的不同之處,發(fā)掘奧斯卡表演獨(dú)有的技巧。奧斯卡表演對(duì)于藝術(shù)真實(shí)的高度追求主要體現(xiàn)在動(dòng)作、表情和念詞三個(gè)表演范疇,奧斯卡表演無論是動(dòng)作、表情還是念詞都可總結(jié)為真實(shí),是特殊性和普遍性的高度統(tǒng)一,正因?yàn)槿绱?才能彰顯出真實(shí)而普遍的人性。第四章得出奧斯卡表演的美學(xué)機(jī)理:第一,從直觀真實(shí)到客觀真實(shí)路徑;第二,從主觀真實(shí)到客觀真實(shí)路徑。從主觀真實(shí)表演到客觀真實(shí)表演的路徑有其局限性,從直觀真實(shí)表演到客觀真實(shí)的表演路徑是奧斯卡表演的一條最重要的主線。概而言之,奧斯卡表演始終遵循人性法則,尊重觀眾的審美經(jīng)驗(yàn),與時(shí)俱進(jìn)、開拓創(chuàng)新,高度重視表演的德性價(jià)值,始終恪守藝術(shù)真實(shí)這一普遍美學(xué)法則。
[Abstract]:The performance is another important aesthetic element of film and television in addition to the narration. In the Academy's film art, the unique charm of the Oscar image has attracted and influences the world's audience, one of which is the actor's performance. The Oscar performing arts are rich in practical experience and performance materials. However, compared with the narrative art, the theoretical system of the performing arts is very weak, and the research of performance theory is relatively late. The research of the Oscar performance at home and abroad rarely discusses its performance and aesthetic mechanism from the angle of film aesthetics, and can't reveal the deep aesthetic mechanism with unique charm. The aim of this paper is to study the deep aesthetic mechanism of the performance in the Oscar image from the angle of film aesthetics, and to find the close relationship between the performance aesthetics and the expression of human nature. In this paper, the main research object is focused on the actor and the corresponding film of the first to the 88 th of the first to the 8th year of the first to 2016, and the Oscar-winning actors and works in this category are systematically investigated and examined as an organic unified art. and is assisted by the best film award and the best performance title award. The following is the basic framework and main contents of this study by using the three methods: the first chapter, the development of the Oscar performing arts in the last hundred years, and the discovery of the innovation of the Oscar performing arts. The development of the performing arts has a developing process of keeping pace with the times, and the artist and the audience have a constant development process for the understanding and the value of the performing arts. in that Oscar image, most of the actor's performance is difficult to define with the existing symbol, star and experience, and their performance is not part of any show, and their performance follows the law of human nature, as a result of the large proportion of the performance. In order to distinguish it from the other performance paradigm, we've studied and studied the performance separately and defined it as an Oscar performance. The second chapter compares the performance of the Oscar with the performance of the symbol, the performance of the star and the performance of the experience. The defects of the star performance are obvious, the symbol performance and the experience performance are all from the drama art, so it is more suitable for the play stage performance, the Oscar performance is a performance suitable for the lens performance mechanism, is the essence and the model in the performance, the essence is an axiological performance, in ord to adhere to that reality of the art as the basic aesthetic measure. The third chapter shows that the performance of the actor is the master of the performance technique, the skill of the Oscar performance, the difference between the skills of the Oscar performance and other performances, and the unique skills of the Oscar performance. Oscar performance is mainly embodied in the three performance categories of action, expression and reading, and the Oscar performance, whether action, expression or word, can be summed up as true, is the high unity of the particularity and universality, because so, To show the true and universal human nature. The fourth chapter points out the aesthetic mechanism of the Oscar performance: first, from the direct and true to the objective real path; secondly, from the subjective to the objective real path. The path from the subjective real performance to the objective real performance has its limitation, from the visual and real performance to the objective real performance path is the most important main line of the Oscar performance. in general, that Oscar show always follow the principle of human nature, respect the aesthetic experience of the audience, keep pace with the times, innovate, attach great importance to the moral value of the performance, and always adhere to the universal aesthetic rule of the art.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J912
本文編號(hào)：2368690
[Abstract]:The performance is another important aesthetic element of film and television in addition to the narration. In the Academy's film art, the unique charm of the Oscar image has attracted and influences the world's audience, one of which is the actor's performance. The Oscar performing arts are rich in practical experience and performance materials. However, compared with the narrative art, the theoretical system of the performing arts is very weak, and the research of performance theory is relatively late. The research of the Oscar performance at home and abroad rarely discusses its performance and aesthetic mechanism from the angle of film aesthetics, and can't reveal the deep aesthetic mechanism with unique charm. The aim of this paper is to study the deep aesthetic mechanism of the performance in the Oscar image from the angle of film aesthetics, and to find the close relationship between the performance aesthetics and the expression of human nature. In this paper, the main research object is focused on the actor and the corresponding film of the first to the 88 th of the first to the 8th year of the first to 2016, and the Oscar-winning actors and works in this category are systematically investigated and examined as an organic unified art. and is assisted by the best film award and the best performance title award. The following is the basic framework and main contents of this study by using the three methods: the first chapter, the development of the Oscar performing arts in the last hundred years, and the discovery of the innovation of the Oscar performing arts. The development of the performing arts has a developing process of keeping pace with the times, and the artist and the audience have a constant development process for the understanding and the value of the performing arts. in that Oscar image, most of the actor's performance is difficult to define with the existing symbol, star and experience, and their performance is not part of any show, and their performance follows the law of human nature, as a result of the large proportion of the performance. In order to distinguish it from the other performance paradigm, we've studied and studied the performance separately and defined it as an Oscar performance. The second chapter compares the performance of the Oscar with the performance of the symbol, the performance of the star and the performance of the experience. The defects of the star performance are obvious, the symbol performance and the experience performance are all from the drama art, so it is more suitable for the play stage performance, the Oscar performance is a performance suitable for the lens performance mechanism, is the essence and the model in the performance, the essence is an axiological performance, in ord to adhere to that reality of the art as the basic aesthetic measure. The third chapter shows that the performance of the actor is the master of the performance technique, the skill of the Oscar performance, the difference between the skills of the Oscar performance and other performances, and the unique skills of the Oscar performance. Oscar performance is mainly embodied in the three performance categories of action, expression and reading, and the Oscar performance, whether action, expression or word, can be summed up as true, is the high unity of the particularity and universality, because so, To show the true and universal human nature. The fourth chapter points out the aesthetic mechanism of the Oscar performance: first, from the direct and true to the objective real path; secondly, from the subjective to the objective real path. The path from the subjective real performance to the objective real performance has its limitation, from the visual and real performance to the objective real performance path is the most important main line of the Oscar performance. in general, that Oscar show always follow the principle of human nature, respect the aesthetic experience of the audience, keep pace with the times, innovate, attach great importance to the moral value of the performance, and always adhere to the universal aesthetic rule of the art.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J912
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，本文編號(hào)：2368690
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