电影与话剧之间具有密切联系，两者同属综合艺术，但在表现形式、技法和 叙事策略上各具特点。戏剧具有浓厚的文学性，以舞台的逻辑和表现形式为特征；而电影则在现代科技与艺术的融合中，发展出独特的视听语言。如此差异下，如何将话剧改编为电影，是电影创作者面临的共同挑战。法国剧作家佛罗莱恩·泽勒在 2020 年将他本人创作的知名话剧作品《困在时间里的父亲》搬上银幕，亲自执导并担任影片编剧，最终获两项奥斯卡大奖。本文以电影《困在时间里的父亲》作为案例，通过对比分析电影在由话剧改编过程中所作的设计与变化，寻找更适宜电影媒介的艺术表现形式，并总结其运用的改编策略，为其他话剧改编电影创作者提供借鉴和参考。
本文由四部分构成。绪论部分首先介绍话剧改编电影研究的背景和意义，以 及电影《困在时间里的父亲》的研究概况，明确研究主要内容和方法；第二章通过分析剧本台词和剧作结构的变化，从台词篇幅的删减、名词的转换以及文化内涵的本地化改编等方面探讨从戏剧语言到电影语言的转变；第三章着重讨论人物演绎方面的变化，包括表演技术的“去戏剧化”和更具灵活性的人物调度，强调电影中演员表演的自然主义风格与现场调度的创造性设计；第四章重点分析视听语言在电影中的突出地位，从影像设计、美术设计和声音设计三方面讨论电影如何发挥视听优势丰富话剧版本的艺术表达。
基于上文所述，话剧改编电影是一项充满挑战又潜力无限的创作过程。在文 本处理上，创作者需要做出取舍。删改对白内容使其更贴合电影语言和叙事节奏，调整文化元素以确保融入新的文化环境，同时重新构思剧作结构以服务于电影整体创作意图。导演对于演员的调教需明确从夸张转向自然的表演技巧，以及运用多样化的角色调度，让人物形象更丰满立体。导演需通过视听语言的精细设计丰富影片表现力，更应保持个性化风格，为作品增添作者性和辨识度。创作者需要充分发挥创造力和想象力，以实现两种艺术形式的成功转化。

Film and drama share a close connection. They are both comprehensive arts, but each has its own characteristics in terms of expression, technique, and narrative strategy. Drama is of a strong literary nature, characterized by theatrical logic and presentation, while film has developed an audiovisual language thanks to combination of modern technology and art. Given such differences, it is a common challenge for film creators to adapt plays to films. French playwright Florent Zeller wrote and directed The Father in 2020, an adaptation of his own play, which won two Oscars. This dissertation is a case study of The Father, with a comparative analysis of innovations and changes made in the process of the film’s adaptation from the play, in order to find a more adaptable form of artistic expression for cinematic medium. It also summarizes adaptive strategies applied to provide reference for other creators of stage-to-film adaptation.
This dissertation consists of four parts. The introduction presents the background and significance of research on stage-to-film adaptations, as well as an overview of the study of The Father and clarifies the methodology of the study. Chapter two explores the shift from theatrical to cinematic language by analyzing changes in play’s lines and structure, in terms of length reduction and localized adaptation of cultural connotations. Chapter three focuses on changes in character interpretation, including the de- dramatization of acting techniques and more flexible arrangements, with an emphasis on naturalistic style of performing and creative positioning of actors. Chapter four concentrates on analyzing the prominence of audiovisual language in film, with discussions on how film can take advantage of audiovisual advantages to enrich the artistic expression of drama version from aspects of both art design and sound design.
Given the above, stage-to-movie adaptation is a creative process of great challenge and potential. Concerning content of script, creators need to know what to keep. Modify lines to better fit the narrative rhythm, adjust cultural elements to ensure integration into local culture, and re-conceptualize the structure to match the film beat. The director’s coaching of the actors requires a clear shift from exaggeration to naturalistic acting techniques. The director should enrich the film’s expression through fine design of audiovisual language and maintain a personalized style to add authorship to the work.