摘要
斯坦尼斯拉夫斯基在排练《海鸥》和《奥瑟罗》时采用的"隔离排练模式"均为了理性分析剧本角色的内部行动逻辑,而这对于"从自我出发"表演的演员是"外部"的。戏剧大师相隔30年排演的两部作品提醒我们"由内到外"的前提是对于文本的分析。理想的排练模式应是:案头工作进行剧本台词的行动化分析,找到"潜动词";肢体工作进行针对性的角色动作训练,戏曲的一些训练方法也很值得借鉴。
In directing Seagull and Othello,Stanislavsky used a unique"isolated rehearsal mode".He isolated himself from the actors so he could rationally focus on analysing the logic of internal actions of every character in the script,which is"external"for the actors.These two productions rehearsed by himself 30 years apart remind us that the premise of"inside-out"acting is textual analysis.The ideal rehearsal mode should be as these:to find the"hidden verb"by script analysis of the action behind each line;movement exercises which is to train actors’body for specific characters’physical actions.In addition,some training methods of Chinese traditional opera are also useful.
作者
秦子然
Qin Ziran(Shanghai Theatre Academy,Shanghai,200040)
出处
《民族艺术研究》
CSSCI
2019年第6期61-67,共7页
Ethnic Art Studies
