八月看完《骆驼祥子》双片,为它的成就激动不已,并认为它的出现是“一种艺术观,一个里程,一个值得我们为之庆幸的事件。”理由一是演员为了创造角色而不计其美之非美,阐明了造型上的非美和艺术美之间在更深一层意义上的美学关系。我们从这里估价斯琴高娃在扮演虎妞中的成就。并把这种成就看做是中国青年演员在一九八二年的表演艺术实践中的一次重大突破!这不仅指形体,而且指神态,指无条件地服从影片的情节安排和导演对角色的整体设计。张瑜在《巴山夜雨》之后,也同样作过这样的努力,决心扩大自己的表演领域。小凤仙没有达到预 August saw the “Camel Shoko” two-piece, excited about its achievements, and that it appears is “an art concept, a milestone, an event worth our rejoicing.” The first reason is the actor in order to create the role Regardless of its beauty and beauty, illustrates the aesthetic relationship between the non-beauty and the beauty of art in the deeper sense. We estimate from here that Siqin Gaowa tiger girl in the play. This accomplishment is seen as a major breakthrough in the performing arts of Chinese young actors in 1982! This refers not only to the form, but also refers to the demeanor, which refers to the plot of the director who unconditionally obeys the film and the director as a whole design. Zhang Yu, “Bashan Yuyu,” also made such an effort, determined to expand their performance areas. Small impatiens did not reach the pre-