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众所周知,电视艺术,就它的多样性艺术结构和它的综合性实质而言,几乎可以算是最复杂的艺术了。但是,在这个思想、美学、和生产诸因素占同等地位的艺术现象里,有某一点很值得中国影视界研究,这就是记实性在电视剧艺术中的审美优势问题。最近我有幸接受了一部反映社会主义英雄模范人物的四集电视连续剧《张培英》的导演工作,我在拍摄这部戏的期间,对于记实性在电视剧艺术中的审美优势这一问题进行了大量的思考;并在创作实践中进行了一些尝试。记实性是电视剧创作中的本性问题。电视剧艺术从它一诞生开始就注定要为社会服务。它接近生活,接近观众,能够真实地记录现时生活中的存在。同时也可以成为观察现实生活的一面透镜。电视剧这种艺术形式很快就能对观众的心灵和思想发生影响,成为一种社会力量。电视剧艺术在创作手法上挖掘生活中的真实,这种直接记录现实生活的手法具有深刻的审美价值。
It is well known that television art is almost the most complex art in terms of its diversity of art structures and its comprehensive nature. However, in this art phenomenon in which thought, aesthetics, and production are of equal status, there is something quite worthy of study in the Chinese film and television industry. This is the issue of the aesthetic superiority of documentaryism in the drama art. Recently I was fortunate to have received a directorial work on the four-episode TV series “Zhang Peiying” that reflects the exemplary hero of the socialist heroes. During my filming of this film, I conducted a survey on the aesthetic superiority of the authenticity in drama art A lot of thinking; and some attempts in creative practice. Documentary is the nature of the drama creation. The art of drama has been doomed to serve society since it was born. It is close to life, close to the audience, able to truly record the existence of the present life. At the same time can also be a lens to observe the real life side. This art form of TV series can quickly influence the audience’s mind and thoughts and become a social force. TV drama art excavates the real life in the creative method, this method of direct recording real life has profound aesthetic value.