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上海大学学报(社会科学版) ›› 2024, Vol. 41 ›› Issue (1): 96-104.

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澄怀味象：20世纪90年代至新世纪初期的电影表演美学 

  

  1. 上海大学上海电影学院
  • 出版日期:2023-11-15 发布日期:2024-01-15
  • 作者简介:冯果（1968- ），女，湖南长沙人。上海大学上海电影学院教授、博士生导师。研究方向：电 影理论。 韩鸿滨（1994- ），女，山西太原人。上海大学上海电影学院博士研究生。研究方向：电影 理论。
  • 基金资助:
    国家社会科学基金艺术学重大项目（19ZD11）

Serene Mind for Natural Beauty: Film Performance Aesthetics from the 1990s to the Early 2000s 

  1. Shanghai Film Academy, Shanghai University
  • Online:2023-11-15 Published:2024-01-15

摘要： 20世纪90年代至新世纪初期，人们身处社会巨变之中，这一时期的银幕表演呈现
出澄怀味象的美学风格。澄怀味象作为道家美学的复归与再发展，指向自然而然之美，相较
于强调道德比附的儒家美学，更追求外在形态与内在精神的自然显现。身处价值观驳杂多变
的转型时期，城市青年向内关照心灵的言行与传统根脉相碰撞后，显现出任其自然、依其本性
的青年角色塑造及表演范式，建构了青年一代虽游离于主流社会价值观之外，但如其所是、自
由生存的情感模式与价值选择。

关键词: 电影表演, 表演美学, 澄怀味象, 自然化

Abstract: The 1990s and the early 2000s, a period of great social changes, witnessed a unique aesthetic
style in screen performance: serene mind for natural beauty. This aesthetic tendency was a restoration and
renewal of Laozi and Zhuangzi’s (Taoist) aesthetics, aspiring for the beauty of naturalness. Compared with
Confucian aesthetics which emphasizes moral analogy, it focuses more on the natural state of external
appearance and inner spirit. Situated in such a transitional period rife with diverse and changing outlooks on
value, the urban youth performers took on a spontaneous and natural way of character shaping and performance
paradigm as a result of the collision between their inward reflection and traditional roots. Therefore, although
they did not represent the mainstream social values, they took things as they were to express emotions and make
value choices.

Key words: film performance, performance aesthetics, serene mind for natural beauty, naturalization

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