外形塑造、躯体化与崇高客体:新中国初期革命角色的表演路径  

Image Shaping, Somatization, and Sublime Object:the Performance Path of Revolutionary Roles in the Early Stage of the New China

作　　者：邓良[1] Deng Liang

机构地区：[1]扬州大学新闻与传媒学院,江苏扬州225000

出　　处：《南京艺术学院学报（音乐与表演版）》2022年第6期134-139,I0002,共7页Journal of Nanjing Arts Institute:Music & Performance

基　　金：国家社会科学基金青年项目“新中国话剧‘胭脂美学’风尚研究1949—1979”(项目编号:17CZX067)阶段性研究成果。

摘　　要：世界革命题材的革命历史剧引导着新中国成立初期的剧场艺术风向。在处理相关角色时,演员动用了两种表演技术:外形塑造与躯体化。外形塑造,来自演员对无法内摄的角色(客体)的外部“投射”;躯体化则关涉原始“心理创伤”的回忆及“客体关系”失衡中的“心位转移”。这两类表演技术与成熟的斯坦尼演剧法存在落差:外形塑造只注重表象,而没有生成情感逻辑,缺乏深度;躯体化的相关操作与斯坦尼强调从行动逻辑激发情感逻辑的教诲相悖,难以复制。除了演技本身的问题,革命历史剧角色的特殊性,也是造成这种局面的重要原因,剧本中的革命者角色对大多数普通演员来说都是难以消化的崇高客体。The revolutionary historical drama with the theme of world revolution guided the artistic trend of the theater in the early days of the founding of the New China. When dealing with relevant roles, actors and actresses employed two performance techniques: image shaping and somatization.Image shaping comes from the actor’s external "projection" of characters(objects) that cannot be photographed internally;Somatization is related to the memory of the original "psychological trauma" and the "mind position shift" in the "object relationship" imbalance. There was a gap between these two types of performance techniques and the mature Stanislavsky’s acting method: the shape shaping only focused on the appearance, but did not generate emotional logic, and lacked depth;The related operation of somatization was contrary to Stanislavsky’s instruction that he emphasized to stimulate emotional logic from action logic, which was difficult to copy.In addition to the problem of acting skills, the particularity of the role of revolutionary historical drama was also an important reason for this situation. The revolutionary role in the script was a noble object that was difficult to digest for most ordinary actors and actresses.

关 键 词：新中国 表演 斯坦尼体系 革命历史剧 躯体化 

分 类 号：J812[艺术—戏剧戏曲]