利用虚拟搬演方式还原历史情境的情景再现是纪录片创作的一种艺术方法，它能够缝合叙事断点，增强传播效果，实现叙事过程中历史故事和现实话语的对接。因为其固有的表演与虚构特质，情景再现潜藏着逾越应用界域、损害纪录片真实性、颠覆纪录片概念的危险。自诞生之日起，情景再现一边满足着纪录片观众对视听奇观的心理需求 ，一边背负着违背纪录片真实性原则的拷问。梳理情景再现的历史发展轨迹发现，在不同的历史时期，情景再现遭受不同的境遇，或被奉为经典，或被排斥被鄙薄。 情景再现可谓带着原罪诞生。情景再现熟稔的运用，让纪录片《北方的纳努克》中的再现场景与现实拍摄浑然一体，赢得世人空前关注，也带来伦理质疑；格里尔逊开创性地提出了需要对自然素材进行“创造性处理”1，拓宽了纪录片创作思路，宣扬了纪录片创作中的主观性存在；二战期间，英国纪录片导演利用情景再现，真实而深刻地描绘出战争的残酷与人性的魅力；伴随着数字化技术的发展与纪录片创作理念的更新，纪录片创作朝向多元化发展，以电视台和大型纪录片公司为主导的系列纪录片被推向市场，情景再现在其中大放异彩。而今，情景再现已经成为一种常见的纪录片创作手法。 在中国，早期纪录片即存在大量的组织拍摄场景,关于情景再现运用的纷争一直未息； 1995年，有大量真人扮演的纪录片《忘不了》播映，具有鲜明的实验精神；2005年秋天，大型纪录片《故宫》的诞生，情景再现以极致的姿态席卷纪录片创作领域，引发了历史纪录片创作的新高潮，也引发了对情景再现应用界域的学术争议。尤其是近十年来，伴随着纪录片技术美学和戏剧美学的兴起，大型系列历史纪录片应运而生，数量巨大，良莠不齐。这个时期，多数纪录片能够把握情景再现的应用尺度，辅助视听手段，准确、生动地复现历史；也有些纪录片逾越情景再现的应用底线，随意篡改历史真实，误导观众意识，造成传播失真和社会资源浪费，让情景再现成为纪录片创作的陷阱。本文试图结合纪录片本质属性与不同时期纪录片审美语境，对经典案例中的情景再现展开分析，梳理情景再现的历史发展轨迹，探考情景再现在纪录片创作中的应用界域。

Scenario reappearance is a kind of artistic method of documentary creation , it uses virtual play ways to restore historical situation, suture narrative breakpoints, enhance communication effect, and achieve the narrative of history and reality in the process of discourse. Because of its strong performance and fictional characteristics, Scenario reappearance is a danger of overstepping the application boundaries, damaging the authenticity of documentaries and subverting the concept of documentaries. Since the date of birth, because of its inherent fictitious property, met the Scenario reappearance as documentary audience psychological demand of audio and visual spectacle, while bearing against documentary authenticity principle of torture. Looking up the historical development track of the Scenario reappearance, it was found that in different historical periods, Scenario reappearance was subjected to different circumstances, or was regarded as a classic, or was rejected and despised. The Scenario reappearance was born with the original sin. The use of the Scenario reappearance had won the attention of the world, and also brought ethical questions to the documentary "Nanook of the North ". Grierson proposed that documentaries needed to be "creative processing" of natural materials, and promoted the subjective existence of documentary creation. During the second world war, the British documentary director used the scene to reproduce, and vividly depicted the cruelty of war and the charm of human nature. with the development of industrialization and documentary idea renewaled, the means of documentary creation began towards diversification, dominated by television stations and large-scale documentary company documentary series had been to the market; Today, Scenario reappearance is the most normal method of documentary creation. Early in china, Disputes about the use of Scenario reappearance existed for a long time.there was a large number of organizational shooting scenes in documentaries. In 1995, Broadcasted a documentary " Unforgettable " with a lot of Actors performing ,It had a distinctive experimental spirit.In the autumn of 2005, the birth of large-scale documentary "Palace Museum", Scenario reappearance with extreme attitude swept through documentary production field, caused a tidal wave of the same kind of documentary writing, and also caused the academic controversy. Especially in the past ten years, with the rise of documentary technology aesthetics and drama aesthetics, a large series of historical documentaries had been created, with a huge number and uneven quality. During this period, most documentaries could grasp the application scale of Scenario reappearance, assisted audio-visual means, and reproduced the history accurately and vividly. Also some documentary beyond scenarios represented the limit of application of random tamper with the historical truth, misleading the audience consciousness, caused transmission distortion and wasted of social resources, became a trap for documentary creation scene rendering. In this paper, the author tries to combine the nature of documentary and the aesthetic context of documentaries in different times to tease out the historical application trajectory of Scenario reappearance, and then explore the application boundaries of documentary creation.