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本文从张厚载对于梅兰芳身体艺术的关注出发,讨论以下三个问题:第一,对身段的新理解以及身段与唱腔之间的联系。第二,1919-1929年之间梅兰芳对于身段的新理解与1930年梅兰芳成功的美国之行的关系。第三,梅兰芳对于身段的重视与早期戏剧电影的关系。通过这三段论证,将张厚载对于梅兰芳身段的重视置于更大的历史社会语境中,将戏剧舞台与大历史舞台联系起来,更将戏剧表演艺术与技术发展、电影产生和国际化语境结合起来,从而丰富对梅兰芳艺术成就的理解。
This article starts from Zhang Houzai’s concern for Mei Lanfang’s body art, and discusses the following three questions: First, a new understanding of figure and the connection between body and singing. Second, Mei Lanfang’s new understanding of figure from 1919 to 1929 and Mei Lanfang’s successful trip to the United States in 1930. Third, Mei Lanfang’s emphasis on the figure and the relationship between the early dramatic film. Through these three arguments, Zhang Houzai places emphasis on the identity of Mei Lanfang in a larger historical and social context, linking the theater stage with the big stage of history, and combining the theatrical and technological development of drama, film production and internationalization Habitat, thus enriching the understanding of Mei Lanfang’s artistic achievements.