CAJ | 학술논문

近年来，蒙古国与其他国家合作拍摄的影片陆续发展，并且这些影片一般较多选择蒙古族历史上最为耳熟能详的成吉思汗题材，从而使该国电影以及表演体系出现多元或者说是“无名”状态。本文通过对《蒙古王》《成吉思汗的意愿》和《十勇士》这三部代表性影片进行表演文化分析，认为合拍片格局下的蒙古国电影表演策略主要体现为他国表演模式的在地化、“模糊表演”的静态表征、原生模式等三种形态，同时提出在相对自由的合拍电影表演环境下，应该最大限度地把握既有的有效表演传达路径，从表演美学破局，使影片质量及其市场保有量有更大的上升可能。
근년래，몽고국여기타국가합작박섭적영편륙속발전，병차저사영편일반교다선택몽고족역사상최위이숙능상적성길사한제재，종이사해국전영이급표연체계출현다원혹자설시“무명”상태。본문통과대《몽고왕》《성길사한적의원》화《십용사》저삼부대표성영편진행표연문화분석，인위합박편격국하적몽고국전영표연책략주요체현위타국표연모식적재지화、“모호표연”적정태표정、원생모식등삼충형태，동시제출재상대자유적합박전영표연배경하，응해최대한도지파악기유적유효표연전체로경，종표연미학파국，사영편질량급기시장보유량유경대적상승가능。
In recent years witness more co-productions between Mongolia and other nations whose content is often related to renowned Genghis Khan in Mongolian history, so its movies and perform-ance system turn out diverse or“unnoticed”.This paper analyses performing culture of“Mongolian King”,“Genghis Khan’ s Will” and “Ten Warriors” to put forward the view that in co-production settings, Mongolian movies performance strategies feature localized performance patterns of other countries, static characterization of“obscure performance” and native mode and propose that profes-sionals should maximize effective methods available of delivery and take performance aesthetics as the breaking point to improve movies both in quality and market tolerance.