| 英文摘要 |
Since the day of its birth, Chinese film, together with the emerging drama and transitional local opera, have absorbed the same aesthetic resources, experienced the baptism of wars and the test of regime change. The theatre and film competed, interpenetrated, mutually supported and extensively referenced with each other, then have gradually formed an inseparable and impactful interactive relationship in the historical process of China’s modernization. Interaction has exerted a great influence on the production system, creative ideas, ideological dissemination, artistic presentation and circulation of both sides. In the period of ‘the Seventeen Years’ from 1949 to 1966, the interaction between theatre and film presented new features. After decades of development and variation, both matured theatre and film of ‘the Seventeen Years’ have once again interwoven closely with each other, presenting a high level of mutual imitation and integration in the creative subject, artistic concept and specific techniques of expression. This paper attempts to regard ‘the Seventeen Years’ theatre and film as an interactive organic integrity, while focusing on, examining and exploring the intimate interaction between them. Then, taking this as the entry point, this paper explores the unique style and aesthetic character of the two under the specific historical context, and reveals some special laws of their development. In addition to the introduction and conclusion, this paper is divided into four chapters to make an intensive analysis of the interaction between ‘the Seventeen Years’ theatre and film. The introduction reveals the universality and profundity of the interaction between ‘the Seventeen Years’ theatre and film. The crossover or overlapping of the creative subjects, the homology and interaction of the adaptation of works, the communication and mutual infiltration of artistic concepts, and the grafting and collage of art forms constitute the external expression of the interaction between ‘the Seventeen Years’ theatre and film. These interactive phenomena implied profound artistic and social mechanisms, which are worthy of further exploration. Chapter one explores the inevitability of the interaction between theatre art and film from the perspective of industrial reconstruction. At the stage of industrial reconstruction, the main task was to transform the theatre and film industry from an independent market economic system to the ‘people’ system. The ‘people’ system was dominated by the state, with its resources allocated by the state and the its creation subjected to political demands. However, this process of reconstruction was by no means accomplished at one stroke. It was fraught with difficulties and filled with games, confrontations, concessions, compromises and expedients. In particular, the construction of the ‘people film’, which had hobbled with the lack of accumulation itself, was in urgent need for a resolution on the imbalance between supply and demand. Moreover, the overseas dissemination of ‘people film’ also needed to adjust the conflict between the political legitimacy and universal values. In this case, the interaction between theatre and film, especially the borrowing of resources from drama, became a convenient and effective way to solve these problems. The second chapter discusses the normalized mechanism of the interaction between theatre and film along with its presentation. Behind each historical stage of the interaction, there was always a presence of the powerful state will. Through the establishment and control of relevant government agencies, the new regime nationalized the creation and distribution rights of theatre and film, as well as performed strict censorship. Besides, the new regime has not only established a proxy form, obliterating the commercial nature of theater and film, but also replaced the ‘director-centered system’ with the ‘script-centered system’. By creating, selecting and promoting ‘canons’, the new regime aimed at both the birth of ideal art forms and the ideology promotion. During ‘the Seventeen Years’, the integrated production system of literature and art and the intervention of strong political power almost deactivated the autonomy and independence of the theatre and film industry. Under the unified manipulation by the state, the theatre and film hardly had any choice but to converge with each other and formed a special interaction mechanism. Chapter three analyzes the variation and rebirth of film genres and character pedigrees caused by the interplay and integration of drama and film. The interaction between ‘the Seventeen Years’ theatre and film has brought great and profound changes to the artistic language of both sides. On one hand, the influence and infiltration of film art have enriched the artistic vocabulary of theatrical stage presentation. On the other hand, a more important dimension was that when the existing film genres couldn’t satisfy the needs of the state will, the stage art provided an effective way for them to break the limitations of the existing genres and realize the renovation of genres. The blending and mutual infiltration of theatre and film resulted in the hybridization of film genres. The interaction between theatre and film also had a profound impact on the composing of characters that the film further strengthened and purified the outstanding characters of the already dazzling ‘new heroes’ on the stage, processing them into abstract symbols of idealization. Chapter four focuses on the Traditional Chinese Opera film, which is the artistic combination of local traditional opera and film. The production environment, the orientation of mainstream consciousness and mass aesthetic taste all changed greatly during the period of ‘the Seventeen Years’. Due to the differentiated appeals for local and overseas dissemination of films, some classic plays have been “rewritten” and remolded to varying degrees in narrative theme, plot, structure, artistic style and expression skills in the process of film-making. On one hand, the explicit level of narration continued to adopt the plot units of ‘act’ and ‘scene’ in the Traditional Chinese Opera; on the other hand, it was necessary to the implicit internal level to carry out the construction of time and space and the integration of aesthetics. The film lens language needed to be coordinated with the movement form and skill style of the opera performance to highlight the professional skills of the actors and the specific aesthetics of body languages. The close interaction between the Traditional Chinese Opera and film in the period of ‘the Seventeen Years’ has achieved a comprehensive integration in the film itself, making ‘the Seventeen Years’ Traditional Chinese Opera film an independent art form. The conclusion summarizes the consequences of the interaction between theatre and film for the development of both theatre art and film art. The interaction between theatre and film has played a positive role in the ideological content, expression techniques and aesthetic construction of the two, but at the same time, it has also brought many problems. However, the interaction of theatre and film also brought about many disadvantages. First of all, the interaction between theatre and film has resulted in a high degree of homogenization of art. Secondly, the interaction between theatre and film sometimes failed to expand the exploration space of filmic audio-visual language, but instead compressed it, and even made the artistic body of film lose its way. Thirdly, the use of techniques in the interaction of theatre and film sometimes led to the opposite effect. The interaction between theatre and film in the period of ‘the Seventeen Years’ contained both valuable artistic heritage and profound lessons for reflection. Key words: ‘the Seventeen Years’ theatre; ‘the Seventeen Years’ film; the interaction between theatre and film; the hybridization of genres; the Traditional Chinese Opera film
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