论合拍格局下的蒙古国电影表演策略

摘要

近年来，蒙古国与其他国家合作拍摄的影片陆续发展，并且这些影片一般较多选择蒙古族历史上最为耳熟能详的成吉思汗题材，从而使该国电影以及表演体系出现多元或者说是“无名”状态。本文通过对《蒙古王》《成吉思汗的意愿》和《十勇士》这三部代表性影片进行表演文化分析，认为合拍片格局下的蒙古国电影表演策略主要体现为他国表演模式的在地化、“模糊表演”的静态表征、原生模式等三种形态，同时提出在相对自由的合拍电影表演环境下，应该最大限度地把握既有的有效表演传达路径，从表演美学破局，使影片质量及其市场保有量有更大的上升可能。%In recent years witness more co-productions between Mongolia and other nations whose content is often related to renowned Genghis Khan in Mongolian history, so its movies and perform-ance system turn out diverse or“unnoticed”.This paper analyses performing culture of“Mongolian King”,“Genghis Khan’ s Will” and “Ten Warriors” to put forward the view that in co-production settings, Mongolian movies performance strategies feature localized performance patterns of other countries, static characterization of“obscure performance” and native mode and propose that profes-sionals should maximize effective methods available of delivery and take performance aesthetics as the breaking point to improve movies both in quality and market tolerance.