20世紀初自西方引進的話劇與電影在近半個世紀的創作實踐中,有許多藝術家兼任著兩方面的工作,因此劇影之間在藝術觀念、創作方法與技巧方面的相互滲透和影響不可避免。就導演藝術而言,因話劇與電影的媒介及其特性不同,導演在兩種藝術中的功能和創作方法存在著差異,但交流互鑒的情況也很普遍。中國電影中的場面調度,常出于對話劇導演的某種借鑒,并達到了巴贊所要求的影像的客觀性和多義性;反之,大批話劇導演進入電影界,也經歷了學習、研究電影特性的過程。當這些導演再投入話劇創作時,自然將電影導演思維融入自己的作品。歷史上這種既探索自身特質,又相互潛移默化影響的過程,對當下的話劇與電影創作也有一定的啟示作用。

Modern spoken drama and film were introduced from the west in the early twentieth century. During the theatrical practice of about half a century,many artists worked for both modern spoken drama and film. Therefore,it is inevitable that modern spoken drama and film have been mutually influenced. As far as the art of directing is concerned,though the functions and methods of directing are different in the two fields,because of the difference in media,the mutual learning is a common practice. The mise en scène of Chinese film is often based on some reference to modern spoken drama and gains the objectivity and polysemy of the images in Bazin’s theory. A large number of stage directors learned how to make films and went through the process of studying the characteristics of film. When they turned back to stage, they naturally incorporated the thinking mode of film into their stage productions. The process of self-exploration and mutual influence may give inspirations to today’s modern spoken drama and film making.