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面对大师陈凯歌,面对完人梅畹华,面对杰作《梅兰芳》,任何一句轻慢的讽刺都有可能是愚蠢而不敬的。这并不是说我会对《梅兰芳》一味吹捧奉承,不过就像《梅兰芳》之于陈凯歌,自始至终都戴着一副纸枷锁。陈凯歌的纸枷锁多少年前,初生牛犊的陈凯歌携一部《黄土地》登上历史舞台,发出了“第五代”的最强音。此后不论《边走边唱》还是《孩子王》,无不体现他作为一个艺术家对中国文化的深入反思和对艺术形式的不懈追求。在张艺谋游走于商业与艺术边缘,“第五代”创作集体哑火的年代,唯有陈凯歌的艺术品格为人称道,
In the face of the master Chen Kaige, the face of the perfect Mei Hua, the face of the masterpiece “Mei Lanfang,” any lightly satirical may be stupid and disrespectful. This is not to say that I will flaunt “Meilan Fang” blindly flattery, but like “Mei Lanfang” to Chen Kaige, from beginning to end are wearing a pair of paper chains. Chen Kaige’s paper shackles How many years ago, Chen Kaige, a newborn calf, took a “loess land” onto the stage of history and sent out the strongest voice of “the fifth generation.” Since then, both “walking and singing” or “King of Children” all reflect his in-depth reflection on Chinese culture as an artist and the relentless pursuit of the art form. In Zhang Yimou swim in the edge of commerce and art, “fifth generation ” collective dumb fire era, only Chen Kaige’s art style is commendable,