A Study Of Pingju Opera Movies In The Seventeen Years Period

Pingju is the second largest opera in China,which has gone through more than100 years of history.However,the combination of Pingju and film has become the foundation of Pingju.During the seventeen year period,there were such films as xiaoguxian,qinxianglian,liuqiaoer,sankan butterfly dream,the first branch of the east wind,silk marriage and flower as a medium.Each film is resisting or resisting with revolutionary nature from different angles,which is the life and soul of art works given by the times.In these films,there are not only works that show the contradictions between family members in order to inspire the people's ideological emancipation,but also works that focus on the collective and national interests from the perspective of the mutual opposition of social relations.The binary opposition of good and evil has always been the popular motive of Chinese opera stories.In this kind of good and evil,it is bound to infiltrate such ideological elements as love,kinship,morality,family,country and the world,which have the meaning of the motif.These elements will not fade due to the change of the times.It is not so much the old baoxinying that was re selected by the times,but the eternal fragrance of historical value.In the historical context of "seventeen years",the opposition of "enemy and self" in film creation is the starting premise of the binary opposition of good and evil.There are many similarities between this concept of film creation and the technique of "facial makeup" in opera creation.Because the opera stage can't go deep into the character's heart through close-up like the movie lens,it can only rely on facial makeup to enlarge the character characteristics.For a long time,there has been a dualistic cognitive way in the audience's consciousness,that is,the audience recognizes good and evil,loyal and treacherous,beautiful and ugly through character makeup,which has a general title in China-xiangyouxinsheng.Film lens enriches the stage of opera,and realism replaces virtuality.The procedural function of Chinese opera is based on the premise of virtuality.The reason for the existence of virtuality is that the stage is difficult to be highly realistic.In asense,Pingju under the film lens has a more life atmosphere,which satisfies the desire of a part of the audience to see more.The so-called interaction is not to let Pingju adapt to the film,nor to let the film succumb to the opera,but to Look for a fit between the two.In short,it is to find a time and space that belongs to both film and stage.For this problem,Xu suling's "Qin Xianglian" and Fang Ying's "flower as a medium" provide two different ideas for the creation of opera films.Film is a practical art,but it also has a retreat.It is worth noting that the film's emptiness is not directly reflected in the film's surface.It does not directly complete the realistic task through virtual performance like opera,nor does it directly leave blank on the scroll like painting,so as to achieve a "wonderful scene where there is no painting".The blank in the film is a "structural blank",and its emptiness is often implied in editing,movement,light,color and sound Music and other audio-visual elements.Because there must be a real subject in the film lens,and the editing,zooming and color of the lens are real technical means,it is difficult for the audience to feel the virtual side.Compared with the pragmatism of film,opera is essentially an art of retreat.Although both of them have their own virtual and real structures in their internal systems,it is an indisputable fact that the film emphasizes "real" and the opera emphasizes "virtual".It is this feature that makes them look after each other in the form of intertextuality and complement each other,gradually forming a unique Chinese art film.If Pingju film is analyzed as a whole,the relationship between the virtual and the real can not be divided into the "virtual" of opera and the "real" of film.In this case,the unique drama film will no longer exist and become a stage documentary.The reason for this is that when the camera is aimed at the opera actors for film creation activities,the opera actors will be the same as the movie actors.This virtual performance exists in the lens as an objective reality.The "virtual" of the opera recorded by the lens has become the "real" of the movie.This is a more general combination of the virtual and the real,and it can even be said that it is the combination of the virtual and the real of the opera art itself,rather than the combination of the virtual and the real of the opera film.In short,the formation mechanism of movie artistic conception is that the real and the virtual are livingtogether.In spite of this,the generating mechanism of movie artistic conception is more complicated than other art categories in procedure.Poetry,painting,photography and other artistic conception also need to be created in real life,but the artistic conception of the film covers these artistic conception,and the drama film further includes the freehand performance of the opera art.Therefore,the creation of artistic conception of Pingju film should include at least three aspects: the freehand performance of opera art,the unity of virtual reality of movie art and the infiltration process of the combination of drama and film.