对话:精神传承与形式转换--从夏衍电影改编实践看一种改编观念

改编并不是简单的从文学到电影的形式转换,而是一次"对话".既是与已经成为"历史"的原作的"对话",也是与正在发展的"现实"的"对话";既是与原作者的"对话",也是与未来影片的潜在接受者的"对话".由于时代、历史、文化背景的差异,由于两种艺术形式、两种传播媒介的差异,也由于创作者(包括原作者和改编者)艺术个性、审美趣味、生活经历等等各方面的差异,原作者和改编者之间势必存在两套不同的语言表达系统.改编的过程也是在两者的矛盾冲撞中竭力寻求平衡的过程,是在裂隙间寻找符合现时社会文化所需要的语言表意符码的过程,这就是所谓的"对话".同时,由于文字语言思维与视听语言思维本身存在的差异,"对话"事实上也是两种艺术形式、两种传播媒介之间的碰撞.夏衍"建国17年"的改编实践在精神主旨和艺术形式两个层面上,成功地完成了与原作和原作者的"对话",既相对准确地传达出原作的精神主旨,又在剧作的角度创造性地完成了形式的转换--从小说到电影.更重要的是,夏衍的改编实践还完成了与主流意识形态的"对话",从电影创作方面为新的意识形态的确立提供了引人注目的"范本".

Dialogue: The Descent of Spirit and the Conversion of Style

Adaptation is not simply a conversion of style from literature to film, but a \!dialogue". It is a dialogue between the original work that has become history as well as a dialogue between the underdevelopment \!fact": It is a dialogue with the original author yet with the underneath acceptors of future films. Owing to the differences of the time,the history and the cultural background, owing to the differences between the two forms of art and the two forms of dissemination intermediary, owing to the differences of the authors' personality, aesthetic sense and life experiences, there would be two forms of language expression system between original author and adapter. The process of adaptation is at the same time the process of persuading balance in the contradiction between both sides, and the process of seeking the symbols of conveying language that meet the regulation of the modern civilization, and this is what is so\|called \!dialogue". Meanwhile, this kind of \!dialogue" actually is also a collision between the two forms of art and the two forms of dissemination intermediary, between the evident distance from written language form to audiovisual form. The adapting practice of Xia Yan 's \!17 years after the foundation of our country" successfully fulfilled the \!dialogue" in two aspects: One is the spiritual purport, the other is the form of art\|which not only conveyed the original purport but also conveyed the form--from novel to film. In the view of playwriting. The more important is, the adapting practice fulfilled the dialogue with main stream ideology and also it offered an extraordinary model for the establishment of a new ideology from the aspect of scenario production.