Principles of Cinematic Montage in Chinese Dramatic Performances: The Innovation Practices of Xia Yan
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Abstract
This article investigates the usage of cinematic montage methods of selected filmmakers (e.g., Vs. Pudovkin, S. Eisenstein, P. Pavis) in the dramatic performances of Xia Yan (夏衍, 1900–1995), Chinese prominent playwright, and film director of the first half of the twentieth century. On the striking examples of Chinese playwright Xia Yan’s plays (Under Shanghai Eaves (“上海屋檐下”), The Fascist Bacillus (“法西斯细菌”), Fragrant Flowers on the Horizon (“芳草天涯”), Resurecction (“复活”), The Defense Line in the Heart (“心防”), Si Jinhua (“賽金花”) etc.) there were outlined five different types of montage methods involved by Xia Yan in his drama performances: parallel, contrast, linear, analytical, and leitmotif, which helped to modify Chinese spoken drama in a new way. Thus, thanks to the intuitive interdisciplinary approach of the playwright-film director, Chinese spoken drama became not just a coverage of the material in its logical sequence but basing on logical and aesthetic comparison of moments and elements of the work was able to present the audience an explosion of figurative information. Such approach promoted the awakening of sensory thought of the recipient, as well as generated completely different perceptions with different shades and judgments.
How to Cite
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Montage, editing, spoken drama, Xia Yan, Vs. Pudovkin, S. Eisenstein
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