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叶·鲍曼是苏联电影理论与电影史研究所研究员,研究年刊《银幕》的主编。近年来他发表了一系列论文,论述各种艺术样式相互融合的问题。本文着重论述其他艺术样式“闯入”喜剧所引起的一系列变化。他认为这种“融合”使喜剧样式多样化(已形成十几种新型喜剧样式),也使喜剧题材显著扩大,突破了一些以前认为喜剧不能表现的领域。 作者针对近十五年来苏联电影喜剧发展的趋势,认为样式融合也使喜剧片中的正面和反面人物日益深化和丰富多彩。他从《狂欢之夜》一片出发,论述了讽刺喜剧片的创作倾向,并结合此片塑造的官僚主义者奥古尔错夫的形象,总结了电影喜剧创造讽刺性形象的创作经验。文中还论述了电影喜剧中较难处理的正面人物问题,认为正面人物的“正面性”日益与幽默因素相融合,“幽默是突出正面人物的一种手段”,使正面人物含蓄生动,避免枯燥虚夸。作者还指出,“面向民间传统已成为目前电影喜剧发展的重要特征之一”,尤其是英雄题材与民间创作相融合,使电影喜剧中的正面人物更生动多姿。 本文译自1975年苏联《电影艺术问题》论文集,译文有删节。
Ye Bauman is a researcher at the Soviet Institute of Cinema Theory and Film History, editor of the annual “Screen.” In recent years he has published a series of essays on the integration of various art styles. This article focuses on a series of changes caused by the “break-in” comedy of other art styles. In his opinion, this kind of “integration” diversified comedy styles (more than a dozen new comedic styles have been formed) and dramatically expanded comedy themes, breaking through areas previously thought impossible by comedy. In response to the trend of the development of Soviet film comedies in the past fifteen years, the author thinks that style fusion also deepens and enriches the positive and negative characters in the comedy. Starting from “Night of Carnival,” he discusses the creative tendency of satirical comedy and sums up the creative experience of creating satirical images through the comedy of the bureaucrat Orgell. The paper also discusses the more difficult problems of positive characters in movie comedies. It considers that the “positiveness” of positive characters is increasingly combined with the humorous factors. “Humor is a means of highlighting positive characters,” making the positive figures subtle and vivid and avoid being boring Quaint. The author also pointed out that “facing the folk tradition has become one of the most important characteristics of the development of the current movie comedy”, especially the integration of heroes and folk creations, making the positive characters in movie comedy more vivid and colorful. This article was translated from the Proceedings of the “Problem of Cinema Art” in 1975 in the Soviet Union, with the translation abridged.