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本期发表的影院动画片文学剧本《赵氏孤儿》,是电影《红高粱》的编剧陈剑雨与动画系列片《我为歌狂》的编剧向华联袂推出的又一力作。中国动画历来重视美术形式和美术风格的探索,中国丰富深厚而又多姿多彩的美术资源为中国动画提供了艺术创作的有力支持。这是中国动画曾经有一个时期的辉煌并且在国际影坛被誉为“中国学派”的一个重要原因。同时,我们也必须看到,在电影本体的认识上以及电影语言的运用上,中国动画仍有许多值得重视的问题。我们注意到,《赵氏孤儿》这个动画剧本,既尊重动画艺术的特性,又遵循电影艺术的普遍性规律,无论思维方式、叙事方式、结构方式都立足于电影本体,在影片的构成上充分调动电影艺术的各种表现手段,使动画作为电影的艺术魅力得到极大的强化,为影片的二度创作提供了很好的基础。这是我们多年来见到的最为“电影”的一个动画剧本,我们怀着欣喜的心情推荐给读者。这个动画剧本系根据元杂剧《赵氏孤儿大报仇》改编。纪君祥的原著是中国古典戏剧中最早被介绍到西方的作品,18世纪三十年代就传到法国,并且立刻在巴黎、尔后在英国出版了法译本和英译本,此后还陆续被德、奥等国著名作家改编上演。尤其值得一提的是,法国大思想家、文学家伏尔泰据此改变为五幕诗剧《中国孤儿》,于1775年在法兰西喜剧院首演,仅仅19世纪就演出达190场,二十世纪三十年代和六十年代又两度公演。诚如国学大师王国维所说,“《赵氏孤儿》列于世界大悲剧中,亦无愧色”;英国便有学者将《赵氏孤儿》与莎士比亚的悲剧相提并论。将在世界文坛有着广泛影响的中国经典名著改编为影视作品献给今天的观众,无疑是件很有意义的事情。在改革开放的大时代里,本刊愿为推进东西方的文化交流作些切实有益的工作。
This issue of theater cartoon script “Orphan” is the movie “Red Sorghum” screenwriter Chen Jianyu and animation series “I am crazy” screenwriter Xiang Hua jointly launched another masterpiece. Chinese animation has always attached great importance to the exploration of art forms and art styles. China’s rich and colorful art resources have provided powerful support for Chinese animation in artistic creation. This is an important reason why Chinese animation once enjoyed a period of glory and was hailed as “Chinese school” in international cinema. At the same time, we must also see that there are still many problems worth paying attention to in Chinese animation in the understanding of the movie ontology and the application of the movie language. We noticed that “Zhao Orphan” is an animated script which not only respects the characteristics of animation art, but also follows the universal law of cinema art. Regardless of the mode of thinking, narrative mode, and structure mode, it is based on the ontology of the movie, To mobilize various means of expression of cinematic art, the cinematographic aesthetics of the cinema has been greatly strengthened, providing a good foundation for the second creation of the cinema. This is an animated script for the most “movie” we have seen for many years, and we recommend it to readers with a happy mood. The animated script is based on the Yuan drama “Zhao orphan revenge” adaptation. Ji Junxiang’s original works were the first to be introduced to the West in classical Chinese drama. They were spread to France in the 1830s and immediately to Paris. Later, French translations and English translations were published in the UK, Renowned writer adapted. In particular, the great French thinker and writer Voltaire accordingly changed to a five-screen drama “Orphan of China,” premiered at the French Comedy Theater in 1775. In the meantime, only 190 performances and 20 In the 1930s and 1960s, they performed twice. As Wang Guowei, a great masters of Chinese learning, said: “The orphan of Zhao is listed in the World Tragedy and is not ashamed.” Some scholars in the United Kingdom compared the “orphan” with Shakespeare’s tragedy. Adapting the classic Chinese classics that have had a wide-ranging impact in the literary world to film and television work dedicated to today’s audience is undoubtedly a very meaningful event. In the great era of reform and opening up, the magazine is willing to promote East-West cultural exchanges for some practical work.