本文与该书观点直接相连。我们从本文中可以看出近年来苏联电影的一种新的倾向:即过分贬低演员表演的作用,而对间接方法的运用,即由环境、背景、剧情展开的整个情境去刻划性格,作了不适当的夸大。并声称这种实践丰富多采,远远超越了过去我们有关“性格”的概念。事实上,这种所谓新的探索,正是掉丢了观众所熟悉的传统美学,使影片创作走上了歧途,以致本文作者也不得不承认苏联“近年来摄制的许多作品的共同缺陷”是“缺乏情绪感染力”,“使人们不知不觉地陷入难于摆脱的困境”。 本文译自苏联《电影中的性格》一书,译文有删节。 This article is directly linked to the book’s point of view. We can see from this article a new tendency of the Soviet cinema in recent years: over-emphasizing the role of the performer’s performance, and using the indirect method, that is, the entire context of environment, background and story to characterize Inappropriate exaggeration. Claiming that this practice is rich and varied and goes far beyond our previous concept of “character.” In fact, this so-called new exploration lost the traditional aesthetics familiar to audiences and led the author of the film to go astray. As a result, the author of this article also had to admit that the common defects of the Soviet Union’s “many works filmed in recent years” “Lack of emotional contagion,” “unwittingly immersing people in the dilemma that is difficult to get rid of.” This article is translated from the Soviet Union, “the movie’s character,” a book, the translation is abridged.