摘要
我国戏剧理论界对“心象”说的解释在某些方面是互相矛盾的。“心象”和俄文中“образ”一词并不完全对应 ,实际上是焦菊隐独创的新词。“心象”在字面上同斯坦尼斯拉夫斯基所说的“内心视象”非常相似 ,而在实际内容上却有着明显的区别。焦菊隐关于“心象”说实践过程两阶段的见解体现了唯物论和辩证法。“心象”说与其说是借鉴戏曲表演理论的产物 。
The interpretations to the theory of “Inner Image” that the theatrical circles in our country have placed are contradictory in certain aspects.The new expression “Inner Image” originated with Jiao Ju Yin is not the equivalent to the Russian“образ” in full sense.Its literal meaning and the word used by Stanislavsky show striking similarities,but there is a great distinction between the two as far as the real content is concerned Jiao’s view of the two stages in the course of practice with regard to the theory “Inner Image”reflects both materialism and dialectics.Rather than a product yielded by drawing on the experiences of traditional opera performances,the theory of “Inner Image” has more to do with the creative application and the growth of Stanislavski’s system.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2002年第3期5-12,共8页
Drama:The Journal of the Central Academy of Drama
