论李少红2010版电视剧《红楼梦》的诗意品格
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摘要
本文以李少红导演的2010版电视剧《红楼梦》为研究对象,运用电视艺术学、影像审美学等理论,探究李少红导演的电视剧独树一帜、个性鲜明的创作理念和诗意化追求。
电视剧创作在当下电视剧创作中是独特的。她把女性视角和诗意追求内在地统一于自我构建的审美情趣之中,运用写意化、富含诗意的影视语言,精心打造独具风格、大放异彩的影像美学,使得她的作品具有独具一格的诗意风格。李少红的电视剧作品富含着诗情画意,从而使得她的这些电视剧有了标志性的特点,令观众印象深刻。而透过李少红的镜头,我们看到了导演看取事物的独特的女性视角,也看到了导演独具匠心的审美追求。李少红导演在创作的同时,将世俗化与艺术化有机的结合在了一起,真正做到了审美风格上的雅俗共赏；另外,在坚守电视剧的通俗形式的同时,她尝试把电影中的创作理念、修辞策略、技术技巧、视听语言个性化地运用于电视剧的创作中来,在荧屏上再现电影的精品观念、语言魅力、造型能力,努力开拓、导引普通大众的审美意识、审美感知能力,使影、视不同的艺术美得到了较高层次的审美实现和精神交融,以此提升电视剧的审美层次和艺术品位。综观李少红的电视剧,可以看到其对构图、景别、镜头运动、声音、光影、色彩等视听元素的沿袭、累积、已建构了与众不同的充满诗意的审美情趣。
由李少红导演执导的2010版电视剧《红楼梦》便将李少红的这种诗意品格发挥到了极致,在视觉造型、听觉造型和意境的设计上体现了独特的审美意蕴。《红楼梦》作为我国古典名著之翘楚,改编难度可想而知。而李少红导演用自己独特的女性视角和诗意化的审美品格,运用现代化、写意化的拍摄手法,塑造了一个美轮美奂、充满诗情画意的“新红楼”。
Shaohong directed the2010version of the TV series "A Dream of Red Mansions", the use of television arts, imaging and aesthetics theory, explore Shaohong directed drama is unique, distinctive creative ideas and poetic pursuit.
The drama is a unique creation in the creation of the current TV series. Her female perspective and poetic pursuit of the unity of the inherently aesthetic taste of self-constructed, the use of freehand brushwork, and rich in poetic film language, carefully crafted unique style shine visual arts, making her work has a unique a grid of poetic style. Shaohong drama filled with strong poetic audio-visual communication, is a new attempt of the Chinese drama aesthetic style. Through Shaohong of the lens, we see the director to see to take the things unique female perspective, and also saw the aesthetic pursuit of originality by the director. Shaohong in the aesthetic character of the television series created, the "elegant" and "popular" a unique style of mix and suture, so that the aesthetic pursuit of "tastes" truly; In addition, the popular form of stick to the drama at the same time, her attempt to the creation of creative ideas in the film, rhetorical strategies, technical skills, personalized audio-visual language used in the drama on the screen to reproduce the film's concept of boutique language charm, modeling ability, strive to open up to guide the general public the aesthetic sense, aesthetic perception, shadow, depending on the artistic beauty to a higher level of aesthetic realization and spirit blend, in order to enhance the aesthetic level of drama and artistic taste. Looking Shaohong television series, you can see its composition, Scene, camera movement, sound, light and shade, color and other visual elements followed, cumulative, has constructed a distinctive poetic aesthetic taste.
Shaohong director directed the2010version of the TV series "A Dream of Red Mansions" put Shaohong this poetic character to play to the extreme, and reflects the unique aesthetic implication in the design of the modeling of visual, auditory modeling, and mood."Dream of Red Mansions" as the leader of China's classic adaptation of the difficulty can be imagined. Shaohong director with its own unique female perspective and aesthetic character of the poetic, the use of modern, impressionistic, and of shooting style, created a beautiful, poetic "Red House".
电视剧创作在当下电视剧创作中是独特的。她把女性视角和诗意追求内在地统一于自我构建的审美情趣之中,运用写意化、富含诗意的影视语言,精心打造独具风格、大放异彩的影像美学,使得她的作品具有独具一格的诗意风格。李少红的电视剧作品富含着诗情画意,从而使得她的这些电视剧有了标志性的特点,令观众印象深刻。而透过李少红的镜头,我们看到了导演看取事物的独特的女性视角,也看到了导演独具匠心的审美追求。李少红导演在创作的同时,将世俗化与艺术化有机的结合在了一起,真正做到了审美风格上的雅俗共赏；另外,在坚守电视剧的通俗形式的同时,她尝试把电影中的创作理念、修辞策略、技术技巧、视听语言个性化地运用于电视剧的创作中来,在荧屏上再现电影的精品观念、语言魅力、造型能力,努力开拓、导引普通大众的审美意识、审美感知能力,使影、视不同的艺术美得到了较高层次的审美实现和精神交融,以此提升电视剧的审美层次和艺术品位。综观李少红的电视剧,可以看到其对构图、景别、镜头运动、声音、光影、色彩等视听元素的沿袭、累积、已建构了与众不同的充满诗意的审美情趣。
由李少红导演执导的2010版电视剧《红楼梦》便将李少红的这种诗意品格发挥到了极致,在视觉造型、听觉造型和意境的设计上体现了独特的审美意蕴。《红楼梦》作为我国古典名著之翘楚,改编难度可想而知。而李少红导演用自己独特的女性视角和诗意化的审美品格,运用现代化、写意化的拍摄手法,塑造了一个美轮美奂、充满诗情画意的“新红楼”。
Shaohong directed the2010version of the TV series "A Dream of Red Mansions", the use of television arts, imaging and aesthetics theory, explore Shaohong directed drama is unique, distinctive creative ideas and poetic pursuit.
The drama is a unique creation in the creation of the current TV series. Her female perspective and poetic pursuit of the unity of the inherently aesthetic taste of self-constructed, the use of freehand brushwork, and rich in poetic film language, carefully crafted unique style shine visual arts, making her work has a unique a grid of poetic style. Shaohong drama filled with strong poetic audio-visual communication, is a new attempt of the Chinese drama aesthetic style. Through Shaohong of the lens, we see the director to see to take the things unique female perspective, and also saw the aesthetic pursuit of originality by the director. Shaohong in the aesthetic character of the television series created, the "elegant" and "popular" a unique style of mix and suture, so that the aesthetic pursuit of "tastes" truly; In addition, the popular form of stick to the drama at the same time, her attempt to the creation of creative ideas in the film, rhetorical strategies, technical skills, personalized audio-visual language used in the drama on the screen to reproduce the film's concept of boutique language charm, modeling ability, strive to open up to guide the general public the aesthetic sense, aesthetic perception, shadow, depending on the artistic beauty to a higher level of aesthetic realization and spirit blend, in order to enhance the aesthetic level of drama and artistic taste. Looking Shaohong television series, you can see its composition, Scene, camera movement, sound, light and shade, color and other visual elements followed, cumulative, has constructed a distinctive poetic aesthetic taste.
Shaohong director directed the2010version of the TV series "A Dream of Red Mansions" put Shaohong this poetic character to play to the extreme, and reflects the unique aesthetic implication in the design of the modeling of visual, auditory modeling, and mood."Dream of Red Mansions" as the leader of China's classic adaptation of the difficulty can be imagined. Shaohong director with its own unique female perspective and aesthetic character of the poetic, the use of modern, impressionistic, and of shooting style, created a beautiful, poetic "Red House".
引文
①董华锋.时尚中的突围—中国电视剧创作现状思考.兰州大学学报(社会科学版),2004.2.
①《想象力的性别：由“80年代以来中国女导演作品研讨会”想到的》.电影艺术.1998.1：29.
②戴锦华.不可见的女性：当代中国电影中的女性与女性的电影[J].当代电影，1994.6：43.
①孟悦.两千年：女性作为历史的盲点.上海文论,1989.2.
①[J905.2/7.510]张薇.影像文化语境下李少红电视剧研究[D].南京师范大学硕士论文.2003.
②[1206]李岩.跋涉在路上—女性视域下的李少红影视剧研究[D].哈尔滨师范大学硕士论文.2010.
①骆雪松.《李少红电视剧的审美探析》[D].南昌大学硕士论文.2006.
①电影的非独特元素.百度文库http://wenku.baidu.com/
②曹雪芹.《红楼梦》[M].三秦出版社,2007.21.
①曹雪芹.《红楼梦》[M].三秦出版社,2007.37.
②马明博,肖瑶《煎茶日记》[M].农村读物出版社,2006.1.
①叶锦添解读<红楼梦>造型：我拉了昆曲的皮.新浪娱乐,2008.6.17 http：//www.sina.com.cn
②新《红楼梦》卫视开播,李少红揭秘幕后回应质疑.www.fjsen.com,2010.9.3
③造型师叶锦添：《红楼梦》为什么不能这样？.中广网,2008.10.21
④彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
⑤彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
①张兵娟.性别与叙事[D].河南}大学博士学位论文.2004.32.
[1]李少红犯愁“亦真亦幻”四字红楼精髓难死人http://enjoy.eastday.com/
[2]董华锋.时尚中的突围—中国电视剧创作现状思考.兰州大学学报(社会科学版),2004.2.
[3]李少红.《橘子红了》不是女权主义http://www.people.com.cn
[4]《想象力的性别：由“80年代以来中国女导演作品研讨会”想到的》.电影艺术,1998.1：29.
[5]戴锦华.不可见的女性：当代中国电影中的女性与女性的电影[J].当代电影,1994.6：43.
[6]孟悦.两千年：女性作为历史的盲点.上海文论,1989.2.
[7]J905.2/7.510]张薇.影像文化语境下李少红电视剧研究[D].南京师范大学硕士论文.2003.
[8][1206]李岩.跋涉在路上—女性视域下的李少红影视剧研究[D].哈尔滨师范大学硕士论文.2010.
[9]骆雪松.《李少红电视剧的审美探析》[D].南昌大学硕士论文.2006.
[10]电影的非独特元素.百度文库http://wenku.baidu.com/
[11]曹雪芹.《红楼梦》[M].三秦出版社,2007.21.
[12]曹雪芹.《红楼梦》[M].三秦出版社,2007.37.
[13]马明博,肖瑶《煎茶日记》[M].农村读物出版社,2006.1.
[14]叶锦添解读<红楼梦>造型：我拉了昆曲的皮.新浪娱乐,2008.6.17http://www.sina.com.cn
[15]新《红楼梦》卫视开播,李少红揭秘幕后回应质疑www.fjsen.com,2010.9.3
[16]造型师叶锦添：《红楼梦》为什么不能这样？.中广网,2008.10.21
[17]彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
[18]彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
[19]张兵娟.性别与叙事[D].河南大学博士学位论文,2004.32.
①《想象力的性别：由“80年代以来中国女导演作品研讨会”想到的》.电影艺术.1998.1：29.
②戴锦华.不可见的女性：当代中国电影中的女性与女性的电影[J].当代电影，1994.6：43.
①孟悦.两千年：女性作为历史的盲点.上海文论,1989.2.
①[J905.2/7.510]张薇.影像文化语境下李少红电视剧研究[D].南京师范大学硕士论文.2003.
②[1206]李岩.跋涉在路上—女性视域下的李少红影视剧研究[D].哈尔滨师范大学硕士论文.2010.
①骆雪松.《李少红电视剧的审美探析》[D].南昌大学硕士论文.2006.
①电影的非独特元素.百度文库http://wenku.baidu.com/
②曹雪芹.《红楼梦》[M].三秦出版社,2007.21.
①曹雪芹.《红楼梦》[M].三秦出版社,2007.37.
②马明博,肖瑶《煎茶日记》[M].农村读物出版社,2006.1.
①叶锦添解读<红楼梦>造型：我拉了昆曲的皮.新浪娱乐,2008.6.17 http：//www.sina.com.cn
②新《红楼梦》卫视开播,李少红揭秘幕后回应质疑.www.fjsen.com,2010.9.3
③造型师叶锦添：《红楼梦》为什么不能这样？.中广网,2008.10.21
④彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
⑤彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
①张兵娟.性别与叙事[D].河南}大学博士学位论文.2004.32.
[1]李少红犯愁“亦真亦幻”四字红楼精髓难死人http://enjoy.eastday.com/
[2]董华锋.时尚中的突围—中国电视剧创作现状思考.兰州大学学报(社会科学版),2004.2.
[3]李少红.《橘子红了》不是女权主义http://www.people.com.cn
[4]《想象力的性别：由“80年代以来中国女导演作品研讨会”想到的》.电影艺术,1998.1：29.
[5]戴锦华.不可见的女性：当代中国电影中的女性与女性的电影[J].当代电影,1994.6：43.
[6]孟悦.两千年：女性作为历史的盲点.上海文论,1989.2.
[7]J905.2/7.510]张薇.影像文化语境下李少红电视剧研究[D].南京师范大学硕士论文.2003.
[8][1206]李岩.跋涉在路上—女性视域下的李少红影视剧研究[D].哈尔滨师范大学硕士论文.2010.
[9]骆雪松.《李少红电视剧的审美探析》[D].南昌大学硕士论文.2006.
[10]电影的非独特元素.百度文库http://wenku.baidu.com/
[11]曹雪芹.《红楼梦》[M].三秦出版社,2007.21.
[12]曹雪芹.《红楼梦》[M].三秦出版社,2007.37.
[13]马明博,肖瑶《煎茶日记》[M].农村读物出版社,2006.1.
[14]叶锦添解读<红楼梦>造型：我拉了昆曲的皮.新浪娱乐,2008.6.17http://www.sina.com.cn
[15]新《红楼梦》卫视开播,李少红揭秘幕后回应质疑www.fjsen.com,2010.9.3
[16]造型师叶锦添：《红楼梦》为什么不能这样？.中广网,2008.10.21
[17]彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
[18]彭骥.新《红楼》定妆照骂声一片.新闻晨报,2008.6.30.
[19]张兵娟.性别与叙事[D].河南大学博士学位论文,2004.32.
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