摘要
面对后戏剧时代各种纷至沓来的表演训练法,斯坦尼斯拉夫斯基体系曾经无需怀疑的权威性和可靠性受到了冲击。但是这些训练方式依然让人联想起斯氏体系的某些训练,例如"解放天性"练习、感觉练习等。事实上,1980年代开始的话剧变革运动中,斯氏体系已经开始动摇。人们习惯把布莱希特的戏剧流派与斯氏体系进行比较,然而斯氏体系是完整的表演训练体系,而布莱希特对表演的要求仅仅停留在概念中,缺乏完整的原理和实施方法,两者并不具备可比性。当代许多后戏剧训练方法,都声称受到斯氏体系的影响,原因是其发现斯氏体系不仅在追求逼真和生活感,而且还具有解放并唤起演员天性的思想和方法。
The once unassailable authority and reliability of the Stanislavski system is challenged in the face of diverse actor trainings in the postdramatic period. But the various training methods are reminiscent of certain steps in the trainings of the Stanislavski system, e. g., the liberation of nature, emotional exercise. The reformation of modern Chinese drama in the 1980 s shook the authority of Stanislavski system. Stanislavski system was usually compared with the Brecht school. However, the two systems are not comparable because the former is a complete system of actor training, and the latter mainly a theory without complete principles and applicable training methods. Many contemporary training methods acknowledge the influence of Stanislavski,due to the recognition that Stanislavski system is a set of ideas and methods that not only pursues verisimilitude and real-life feeling, but also liberates and provokes the nature of actors.
出处
《戏剧艺术》
CSSCI
北大核心
2018年第6期17-25,共9页
Theatre Arts
基金
上海市高峰高原学科建设计划(SH1510GFXK)的阶段性成果
