초기 경극영화를 통해 본 전통의 현대화 양상 연구 ― 「생사한(生死恨)」(1948)을 중심으로
Research on Traditional Modernization in Early Beijing Opera Films, Focusing on Shengsihen (1948)
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During the first half of the 20th century, traditional Beijing opera art and modern film media were combined to produce the successful Beijing opera film Shengsihen (生死恨), one of the first to insert the traditional into the modern. In this piece, the full-length narrative adds emotion to the time period, the color effect highlights the ethnic characteristics of the show, and the sound allows viewers to experience Beijing opera with sound effects. Film director Fei Mu (費穆) aimed to transfer the distinct ethnic characteristics of Beijing opera to the art of film. For instance, Fei focused on producing a different impression combining realistic expression (寫實) and spiritual expression (寫意) in set scenery and faking movements in action using real props. Problems caused by printing or editing decreased the accuracy of color and the quality of audio. However, compared to past productions, this first full-length film with sound and color marks great artistic and technical improvements. During the anti-Japanese war, Beijing Opera Actor Mei Lanfang (梅蘭芳) expressed the tragedy of the public and sharply adapted the scenario to be suitable for the filmic genre. Mei retained the realistic background and props based on ideological traditions but modernized them with new acting techniques. For example, he eliminated long musical portions, transforming them into a mime act, and used real props, showing Beijing opera acted with dancelike features and weaving machinery. With ethnic features, Shengsihen (1948) combines the aesthetic and traditional generic features of Beijing opera and film into a successful modern piece.
Abstract
During the first half of the 20th century, traditional Beijing opera art and modern film media were combined to produce the successful Beijing opera film Shengsihen (生死恨), one of the first to insert the traditional into the modern. In this piece, the full-length narrative adds emotion to the time period, the color effect highlights the ethnic characteristics of the show, and the sound allows viewers to experience Beijing opera with sound effects. Film director Fei Mu (費穆) aimed to transfer the distinct ethnic characteristics of Beijing opera to the art of film. For instance, Fei focused on producing a different impression combining realistic expression (寫實) and spiritual expression (寫意) in set scenery and faking movements in action using real props. Problems caused by printing or editing decreased the accuracy of color and the quality of audio. However, compared to past productions, this first full-length film with sound and color marks great artistic and technical improvements. During the anti-Japanese war, Beijing Opera Actor Mei Lanfang (梅蘭芳) expressed the tragedy of the public and sharply adapted the scenario to be suitable for the filmic genre. Mei retained the realistic background and props based on ideological traditions but modernized them with new acting techniques. For example, he eliminated long musical portions, transforming them into a mime act, and used real props, showing Beijing opera acted with dancelike features and weaving machinery. With ethnic features, Shengsihen (1948) combines the aesthetic and traditional generic features of Beijing opera and film into a successful modern piece.
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