中英雙語話中國影視演藝圈 第10期:鄭正秋

Zheng Zhengqiu (1888 ~ 1935)

鄭正秋（1888 ~1935)

Zheng Zhengqiu, an early Chinese famous director and screenwriter, was bom in Shanghai on January 25, 1889. From the beginning of 20th century to the end of 1920s, China's 1st generation of directors appeaRed with the birth of Chinese films under poor and unexperience conditions. The Chinese film pioneers produced the first group of Chinese feature films. Among them, Zheng Zhengqiu was the greatest successful director.

鄭正秋，中國早期著名的導演、劇作家和編劇家,1889年1月25出生於上 海。20世紀初到二十年代末，隨着電影在中國的誕生，出現了中國“第一代導演”。這些中國電影的先驅,在簡陋、艱苦，又缺乏經驗的條件下，創作了中國電影第一批故事片。“第一代導演”中成就最大的是鄭正秋。

Zheng Zhengqiu was a versatile filmmaker. In 1913,he and Zhang Shichuan co-produced his The Couple in the Hard Times （Dong Fang Hua Zhu) . This was the first Chinese short feature film which made the first step to engage himself in film career. In the end of 1923, Orphan Rescues Grandfather, written by him and directed by Zhang Shichuan, was on the screen and of great success. In 1929, he wrote and directed Fellowmen.

鄭正秋是一位多才多藝的電影人。1913年，與張石川合作導演，把由他編寫的《難夫難妻》（又名《洞房花燭》）搬上銀幕。這是第一部中國短故事片。從此開始了他的電影事業的第一步。1923年底，由他編劇、張石川導演的《孤兒救祖記》上映，獲得巨大成功。1929年，他創作並導演了《戰地小同胞》。

In 1930, he wrote and directed The Hall of Broken Zither in which he played the leading role. In 1934, Twin Sisters written and directed by him had its moments and was of huge social influence. He had written 50 films included Labourer's Love (1922) , The Couple In Name (1927) and The Burning of Red Lotus Temple Part( 1 ~ 4) ( 1928) and directed The Tablet of Blood and Tears (1927)，The White-Cloud Pagoda (1928)， as well as starred Labour's Love.

1930年，創作、導演並主演了《碎琴樓》。1934年，他編導的《姊妹花》轟動一時，併產生巨大的社會影響。鄭正秋曾編劇過《擲果緣》（又稱《勞工之愛情》）（1922)、《掛名夫妻》 (1927 )、《火燒紅蓮寺》（1928)等50多部影片，導演過《血淚碑》（1927)、《白雲塔》（1928)等，還主演過《擲果緣》等。

As a Chinese film pioneer, he had his own definite artistic ideas and pursuits more than his contemporary directors. Except his main achievements in pioneering Chinese films, the most important one laid in his starting fine tradition of Chinese films and drawing rich creation sources from real social life as well as stage art of drama, which laid a foundation for pioneering the artistic road of Chinese films. Zheng Zhengqiu was rich in life and stage creation experience and he put forward that films should not only cater to audiences but also lead their enjoyment interest. Accordingly, his works could rather seize and move audiences, especially those citizens, and had profound influence.

鄭正秋作爲中國電影的開拓者，與同時代的導演相比更有藝術主見與追求。他的主要功績除了在開拓電影事業外,最重要的還在於他開創了中國電影從現實社會生活和戲劇舞臺藝術方面汲取豐富創作源泉的優良傳統，爲中國電影藝術道路的開闢奠定了基礎。鄭正秋有豐富的生活和舞臺創作經歷，提出影片不僅要迎合觀衆，而且要引導觀衆的欣賞趣味。因此，他的作品比較能夠抓住觀衆,打動觀衆的心靈，特別是受到市民觀衆的歡迎，影響深遠。

Zheng Zhengqiu had tried to find out a national culture road rooted in Chinese land and devoted a great deal of her efforts to Chinese films from silence to sound, which laid a foundation for the development of early Chinese films.

鄭正秋始終摸索一條紮根於中國大地上的民族文化道路，爲中國電影從無聲到有聲片傾注了大量心血，爲中國早期電影事業的發展奠下了基石。