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鄭文雅一次因緣際會,遇上以前在電影圈認識的李居明,對方編寫的《蝶海情僧》會到北京、上海作三地聯演,於是她帶攝影器材展開戲曲攝影之旅。書中的照片分別在北京、上海拍攝,以相片記錄京劇、上海越劇和廣東粵劇的表現方式。《文情雅戲》以攝影藝術手法,從多個角度準確、生動地捕捉到戲曲中人物的身段和眼神,體現出演員在唸、唱、做、打之間的神形合一、內外結合,即手、眼、身、法、步配合的精髓(心想、身動、眼隨),人物的一顰一笑、一動一靜,盡收鏡頭之中。照片色調艷麗、七彩繽紛,畫面充滿動感,予人美的享受。
作者簡介
鄭文雅,香港電影電視演員。1960年2月出生於香港。1979年獲選為香港小姐,從而進入演藝圈。1982年步入影壇,主演電影《小生怕怕》,此後便接連拍攝了數十部電影和電視劇,主要有《全家福》、《全家樂》、《發達秘笈》、《我未成年》等。集表演、舞蹈、書畫、雕塑、高爾夫球教練、攝影等於一身,是一位多才多藝的藝人。
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從北京、上海到廣東,文雅鏡頭下的中國戲曲,是那麼賞心悅目,充份展現了這門藝術的迷人感。為褒揚中國戲曲藝術那份充滿魅力的世界,她的攝影集把這非凡的藝術文化傳統,帶給大家更多的《文情雅戲》。
——朱玲玲
This book records, from preparation to execution, the work of other artists in a different discipline, who have combined together in a way that has never happened before. The photographs enable the reader to become engrossed in the rehearsal, to see the preparation and the build up during the makeup time. Then there is the performance. Some images are ethereal, the shots cause one to linger and ponder the beauty. Some scenes show expressions that would be fleeting in the performance but yet the reader has the advantage of seeing them through the photographer's lens and eyes.
——Anthony Rogers
——朱玲玲
This book records, from preparation to execution, the work of other artists in a different discipline, who have combined together in a way that has never happened before. The photographs enable the reader to become engrossed in the rehearsal, to see the preparation and the build up during the makeup time. Then there is the performance. Some images are ethereal, the shots cause one to linger and ponder the beauty. Some scenes show expressions that would be fleeting in the performance but yet the reader has the advantage of seeing them through the photographer's lens and eyes.
——Anthony Rogers
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