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Suiyuan's "Sound, Light, Color and Shadow" Series of Cloud Lectures (7): Professor Li Zhenlin shared "How to Treat the Chinese Film Performance School

On the evening of June 17, Professor Li Zhenlin, director of the Graduate Department of Shanghai Theater Academy, dean of the School of Film and Television, and doctoral supervisor was invited to be the guest speaker of the "Sound, Light, Color and Shadow" series of cloud lectures in the School of Journalism and Communication of Nanjing Normal University. An online academic lecture entitled "How to Treat the School of Chinese Film Performance". Professor Zhang Xiaofeng, Dean of our college, Professor Liu Yongchang, director of the Department of Radio and Television, and more than 200 undergraduate and graduate students listened online. The lecture was presided over by Professor Zhang Xiaofeng.

 

First of all, Professor Li Zhenlin highly affirmed the significance and value of the film performance school and believed that it should not be "aphasia" or "absence". Performance is the core of the film itself. Chinese film performance aesthetics has long been interpreted by Western film performance literary theory and Chinese drama performance literary theory. However, Western literary theory cannot accurately explain Chinese film performance practice. In addition, we need a school to name Chinese movies, so the acting school should be valued by academia and industry.

 

Next, Professor Li Zhenlin led the students to sort out the development of the film performance school. He divided it into three stages: in the 1930s, he first described the "lines" of national characteristics, mainly by introducing European performance theory to China to guide performance In the 1960s, the national drama system was cultivated, and the Stanney system became the supreme performance theory, but the subjectivity of Chinese performance is not "dissipation", but it is now and now; since the beginning of the new era, the film performance school has been advocated , The performance aesthetics context is successful, and the model performance works have become the scale.

 

Afterwards, Professor Li Zhenlin briefly introduced some important performance concepts in the history of Chinese film, including abundant Chinese performance wisdom, which is not only a local inheritance of performance aesthetics, but also a historical document for the construction of the Chinese film performance school. Professor Li Zhenlin emphasized Zhao Dan’s view of performance in "The Gates of Hell": the dialectical relationship between limitation and infinite, to be good at hiding and turning shortcomings into advantages; the dialectical relationship between personality and commonality, there is no aesthetics without personality, and Personality should include commonality. The nationalization of performance is a problem of deepening the realist creation method; the dialectical relationship between experience and embodiment involves internal and external skills, direct and indirect experience, actors and roles, etc., not just contradictions, but Complementarity and mutual use, relying on each other; the dialectical relationship between artistic concepts and artistic techniques, we must learn the spirit of traditional art, rather than stick to specific techniques.

 

In addition, Professor Li Zhenlin explained three iconic concepts of the film performance school: style, method and philosophy. One is the poetic realism performance style, which is a fusion of shadow play performance, documentary performance and freehand performance. It is a "hybrid" or "composite" of the three performance styles. The second is the "experience school" performance method formed by the "fusion" of the Stani system and the practice of Chinese film performance. The Stani system has been spread in China and has also been sinicized. The "interdependence" of experience and manifestation is due to the difference in actors Each has its own focus. The third is the “neutral” performance philosophy of realism that is not limited to real images, and the freehand can be virtual but not completely abstract. It is a film presentation of “moderate” ethics.

 

At the end of the lecture, Professor Zhang Xiaofeng and Professor Liu Yongchang expressed their heartfelt thanks to this academic feast brought by Professor Li Zhenlin, and eagerly hoped that in the near future, Professor Li Zhenlin could come to Suiyuan and have in-depth face-to-face exchanges with students.