The Animation Renaissance:racking Down the Performing Aesthetics of Disney Animation
|Keywords:||動畫;迪士尼;表演;馬戲;音樂劇;默劇;默片;animation;Disney;acting;performance;circus;musical;silent film;mime||Issue Date:||2008||Abstract:||
Although types and forms of art would change with time, its essence and crafts would be kept and pass on to another art forms. Circuses, musicals, silent films and mimes were once some rather prevailing types of entertainment, and they respectively play important roles in the history of dramatic and performing art. Either directly or indirectly, they affect the emerging animation and provide it with valuable, abounding resources. Walt Disney and all the animators in his group actively extract and make use of the available resources to substantiate their animation and to enhance the theatricality and artistic value of the movies. Due to their efforts, they have successfully established the animated “Disneyland.”rom the perspective of dramatic and performing art history, this study delves into the relationship between the previous types of performing art and the Disney animation. The focus is on how Disney animated movies employ and appropriate those types of performing art. Through the archive studies and analysis, it is found that such conventions and aesthetics as animal show, freak show, and acrobatics and juggling in circuses, vaudeville, follies, and character statement and choreography in musicals, clowning, and pathos in silent films, body isolation and lazzi in mimes have passed on to the Disney animated movies. Finally, this study shows that those types and conventions of previous performing art have been well integrated into the animation and contributed greatly to the aesthetics of animation art.
|Appears in Collections:||戲劇學系|
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