"非姿态化"的行动:德勒兹的大形式概念与方法派电影表演
"Non-Gestural Action":Deleuze's Concept of the Large Form and Method Acting in Film Performance
开寅1
作者信息
摘要
在《电影1:运动—影像》中,吉尔·德勒兹以"大形式"流程开启了对行动—影像的论述,它渗透了好莱坞电影从创作到制作的各个环节,包括占据绝对主导地位的方法派表演体系.方法派诠释角色的过程包含内在化和外在化两个阶段,并与知觉驱动的运作紧密联系.在方法派表演之外,德勒兹以人物的姿态作为身体的时间性外延,它成为挑战大形式和行动—影像固有模式的"武器"之一,并将德勒兹的电影理论引向了时间—影像的方向.
Abstract
In his seminal work Movement-Image,Gilles Deleuze delves into the action-image,introducing a pivotal concept known as the large form.This concept exerts a profound influence over Hollywood cinema,shaping everything from production techniques to narrative construction,with method acting emerging as a fundamental element of American film performance.Defined by its dual processes of interiorization and exteriorization,method acting works in tandem with sensori-motor functions,enabling actors to interpret characters through the interplay of situational dynamics and action/reaction mechanisms.Conversely,Deleuze introduces gestus as an extension of the human body,employing it as a means to challenge the dominance of the large form and the action-image paradigm.This inquiry represents a crucial moment in Deleuze's film theories,steering them toward the realm of the time-image.
关键词
德勒兹/大形式/行动—影像/方法派表演/姿态Key words
Gilles Deleuze/the large form/action-image/method acting/gestus引用本文复制引用
出版年
2024
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NSTL
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