【作者】 程婕；

【导师】 章柏青；

【作者基本信息】 中国艺术研究院 ， 电影学， 2014， 博士

【摘要】 电影表演教育教授的是演员在电影镜头前,通过“人演人”的方式塑造角色形象的技能,是一种区别于一般教育的特殊的人才培养方式。作为一门实践性很强的学科,表演教学一贯强调“口传心授”式的教学法和“精英教育”的办学理念。经过几十年的发展,表演教育已为中国电影事业培养了大批优秀的电影演员。然而注重实践的同时,电影表演教育却往往疏于学理规范的提升与总结。与此同时,逐渐普及化的电影表演教育与变化的时代需求之间也逐渐出现了裂隙。随着社会的进步,电影技术的发展,学生素质的不断提高,表演艺术教学与创作的内、外部环境也不断发生着改变。电影表演的教学方法必须不断适应这重重变化并适时做出相应的调整。因而,对当代中国电影表演教育现状的研究,迫切需要以历史性、当代性、综合性及比较学的视域进行重新全面的审视。本论文是笔者近年来结合电影表演教学的工作实践,对于中国当代电影表演教育现状的研究和思考。全文共分为五章。绪论部分论述了本文的选题依据、研究对象、文献综述及研究方法。第一章全面分析了电影表演教育的学科定位与专业特性。第二章则站在历史与现实的交汇处,全面回顾了中国电影表演教育六十余年的实践经验与表演教育体系的形成；梳理了北京电影学院表演系的创办历程；斯坦尼斯拉夫斯基演剧体系在我国电影表演教育界的引入、传承、发扬和创新；对我国电影表演教育理论体系在结合民族艺术教育传统和吸收欧美教学模式与教学法,并不断开拓表演教育的电影手段等方面的努力进行了历史性的分析。以此来找到中国电影表演教育改革与创新的立足点。第三章扩展到对北京电影学院以外其他开展表演教学、为电影创作培养人才的教育教学模式的研究。以中央戏剧学院、上海师范大学谢晋影视学院等院校为案例,分析了戏剧院校、综合类院校与电影学院在教学方法和手段上的异同；并指出了我国高等影视表演艺术教育的发展症结与相应的对策。第四章指出了当今中国经济社会转型的背景下,电影表演教育生态发生的巨变；指出了电影产业格局的升级、电影演员生存环境的蜕变、扩招背景下的“艺考热”与“就业难”等诸多存在的现实问题对电影表演教育带来的机遇与挑战。第五章在前文的基础上,对未来中国电影表演教育的发展进行了创新性的探索。提出了大电影表演教育观；并分别从电影科技、市场需求、电影评论建设、以及毕业生的职业规划等方面全面阐释了未来我国电影表演教育的发展方向、办学思路；提出了“类型演员培养模式”、“以评论促进创作及欣赏水平的提升”、“演员培养的职业化模式”等开创性的思考。更多还原

【Abstract】 Film performance education is aimed at instructing the actors to master the skills of playing a role in front of a movie camera with the approach of "a person portraying another person". It is a way of talent cultivation that is different from the general education. As a subject with very strong practicality, film performance teaching has always emphasized on the teaching method of "oral teaching that inspires true understanding" and the "elite education" philosophy. After decades of development, it has cultivated a large number of excellent film actors for China’s movie industry. Although the teaching is practice-oriented, China’s film performance education often neglects to improve the research on theories and to summarize the teaching principles. In the meanwhile, conflicts have emerged between the increasing popularity of the movie performance education and ever-changing demand of our time. With the progress of the society and continuous improvement of the quality of students, the external environment is constantly changing, so the teaching methods adopted in universities must be constantly adapted to these changes and make timely adjustments accordingly. Thus, the study on the theory of contemporary Chinese film performance education has the urgent need to be reviewed comprehensively from the historical, contemporary, integrative and comparative aspects.Chinese contemporary film performance education was reflected on in the thesis based on the author’s practice and experience in the film performance education and teaching. It was presented in the thesis not only a comprehensive summary of teaching experience and patterns of education for Chinese film performance, but also the measures to be taken for dealing with the various issues that film performance teaching is currently facing. Therefore, it is of great significance for the completeness of China’s film education theory; more importantly, it’s expected to change the situation that China’s film performance education, which lacks theoretical research and a systematic structure, neglects its own academic tradition.The thesis is divided into five chapters and the introduction part of discusses the basis of the topics, the object of study, the literature review and the research methods. The first chapter analysis comprehensively and professional disciplines positioning characteristics of the film acting education.In the second chapter, China’s experience in film performance education in the past sixty years and the formation of the theory about film performance in China were reviewed and summarized, in an attempt to find the way of carrying out the reform and innovation of China’s film performance education. The history of Beijing Film Academy since its foundation was traced, and the way in which China’s film performance education introduced, addressed questions about, inheriting, promoting and innovating in Stanislavsky’s System was analyzed. It was also analyzed in the chapter the continuous efforts that people dedicated to the theoretical system of China’s film performance education have made in combining the tradition of Chinese art education and western teaching mode/method, and in exploring a new approach of film performance education. The third chapter focuses on other educational institutions in which performance was taught for cultivating talents for the film industry except Beijing Film Academy which specializes in training film specialists. In this chapter, the teaching methods employed by drama academies, of which the Central Academy of Drama is a representative, were studied. Taking Shanghai Normal University, Xie Jin Film School, as an example, the current multi-level school-running patterns for performance majors were analyzed in a comprehensive way. It was illustrated explicitly in the four chapter the great ecological changes of movie performance education under the background of economic and social transformation in today’s China. Many problems and challenges that China’s film performance education must face up to were also pointed out, such as the upgrading of the film industry, the transformation of film actors’living environment,"the Craze for Studying in an Art School" and "Employment Difficulty" caused by the increased enrolment increase. On the basis of the above discussion and analysis, an innovative exploration of contemporary Chinese film performance education was carried out in the fifth chapter and a new concept of film performance education was defined. The orientation of China’s film performance education and the philosophy of the education was explained in a comprehensively from film technology, market demand, movie reviews, graduates’career planning; the possibility of changing the concept of performance teaching and creating new teaching method was also discussed. It was also put forward in the chapter some creative ideas about "the training of type actors","raising the level of appreciation and creation with the help of review","the professional way of cultivating actors", for the purpose of inspire the innovative development of China’s film performance.更多还原