梅耶荷德戏剧理论与实践中的东方元素  

The Eastern Elements in Meyerhold's Dramatic Theories and Practice

作　　者：徐琪[1] 

机构地区：[1]厦门大学外文学院

出　　处：《戏剧艺术》2015年第2期106-113,共8页Theatre Arts

基　　金：国家社会科学基金一般项目"梅耶荷德戏剧思想研究"(项目批准号:11BWW027);厦门大学繁荣哲学社会科学专项资金项目的阶段性成果

摘　　要：在东西方文化相互交织、碰撞、渗透、交融的历史大潮中,梅耶荷德吮吸东方哲学思想的精髓,在比较、实验、创新过程中有意识地以东方戏剧美学思想为参照,不断锤炼、完善自己的导演创作。本文以东西方文化交流的历史环境与东方戏剧的假定性本质为基点,旨在探寻、梳理梅耶荷德戏剧思想源流中的东方元素,从东方艺术的"写意性"特征、东方戏剧的表演技巧、假定性的舞台设计与多场景的戏剧结构、音乐与"停顿"的艺术、"镜视"与间离理论、"小黑人"等六个层面分析梅耶荷德对东方戏剧文化的学习、借鉴与重构,说明东方戏剧传统是其建构假定性戏剧理论和舞台实验性创作的重要源泉,从而论证东方戏剧艺术对梅耶荷德的戏剧理论和导演实践所产生的深远影响。Through the interaction and mixture of the eastern and western cultures, Meyerhold absorbed the essence of eastern philosophy and continuously improved and refined his works as a director. He consciously referred to eastern dramatic aesthetics in the process of comparison, experiment and innovation. Starting from the historical background of communication between eastern and western culture and the make-believe nature of eastern theatre, this paper explores and sorts out the influential eastern elements in Meyerhold＇s dramatic theories. It discusses how Meyerhold absorbed, borrowed and re-constructed eastern dramatic culture into six aspects： the xieyi （freehand） features of eastern art; the performing skills of eastern drama; the stage of make-believe and the multi-scene structure; music and the art of ＂pause＂; the ＂mirror-gazing＂ theory and alienation theory; and the ＂little blacks＂ on stage. The paper demonstrates that eastern dramatic tradition is the source of Meyerhold＇s make-believe theories and stage practice, and eastern drama has had significant influence on his dramatic theories and his practice as a director.

关 键 词：梅耶荷德 假定性 东方元素 梅兰芳 

分 类 号：J80[艺术—戏剧戏曲]