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我应该说是沈大哥的学生。1943年,我刚从国立剧专毕业,在成都中华剧艺社参加他导演的话剧《金玉满堂》的演出,演一个在台上仅仅停留一下的佃农,但已经感到很幸福了。过了近廿年,我又在他导演的《万紫千红总是春》里饰一个工人,对沈导演认识就加深了许多。沈导演的说戏与众不同。他的导演阐述没有长篇的说教,而是以生动的语言调动各个创作部门的积极性,把非常活跃的创作积极因素统一到如何提高影片质量上来,达到他的真实、细腻、深刻、流畅的导演风格的要求。他导演的影片节奏性很强。节奏包含极其深刻的内容,是一种重要的电影技巧。有些我也说不清
I should say Shen student brother. In 1943, I just graduated from a national drama academy and was very happy when I participated in his director’s drama “Full House in Jin Yu” and performed a tenant who only stayed on stage for a while. Nearly 20 years later, I again decorated a worker in his director’s “Everlasting Spring” and deepened my understanding of director Shen. Shen director’s story is different. His director elaborated without long preaching, but in a vivid language to mobilize the enthusiasm of various creative departments, the very active creative positive factors to improve the quality of the film up to reach his true, delicate, profound, smooth director style Request. The film he directed was rhythmic. Rhythm contains extremely profound content, is an important movie technique. Some I can not tell