付 骁. 论叙事图像的戏剧性[J]. 内江师范学院学报, 2016, (5): 132-135. DOI:10.13603/j.cnki.51-1621/z.2016.05.030
引用本文: 付 骁. 论叙事图像的戏剧性[J]. 内江师范学院学报, 2016, (5): 132-135.DOI:10.13603/j.cnki.51-1621/z.2016.05.030
FU Xiao. On Theatricality of Narrative Pictures[J]. Journal of Neijiang Normal University, 2016, (5): 132-135. DOI:10.13603/j.cnki.51-1621/z.2016.05.030
Citation: FU Xiao. On Theatricality of Narrative Pictures[J].Journal of Neijiang Normal University, 2016, (5): 132-135.DOI:10.13603/j.cnki.51-1621/z.2016.05.030

论叙事图像的戏剧性

On Theatricality of Narrative Pictures

  • 摘要:在“文学成像”的研究框架内,探讨画家对众多人物空间位置关系的处理是一个重要内容。人物以侧面成像、呈线性排列的形式使叙事图像获得舞台效果,具有戏剧性。画家像导演一样操纵着叙事过程,让观者置身事外“看到”故事的发生。画家必须以“肯定规则”作为视觉再现的策略,不必站在固定视点观看,观者可以看到在现实中不可能这样看到的场景,这样才能尽量完整地讲述故事。戏剧性的观看对象是舞台艺术和视觉艺术的共同要素,满足了人类最基本的审美需求。

    Abstract:In the research framework of “literary image formation”, it is the important content to probe into the painters' handling of figures' spatial position. The figures' profile image formation and linear arrangement contribute to the narrative pictures' stage effect and theatricality. Like a director, the painter manipulates the narration and makes the audience as a beholder “see” the happening of the story. And he should take “confirmation of the rules” as the strategy of visual representation. He need not watch the story from a fixed point. And the audience can see the scene which he can not see the reality. Only in this way can he narrate the story as completely as possible. The theatrical enjoying object is the common element of both stage art and visual art, which meets the most fundamental aesthetic demand of human kind.

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