论《大雷雨》与20世纪三四十年代中国话剧的舞台实践  

The Thunderstorm and the Stage Practice of China's Drama in the 1930s and 1940s

作　　者：王永恩[1] Wang Yongen

机构地区：[1]中国传媒大学

出　　处：《俄罗斯文艺》2023年第4期14-23,共10页Russian Literature & Arts

基　　金：国家社科基金艺术学重大项目“当代欧美戏剧研究”(19ZD10)的阶段性成果。

摘　　要：俄国戏剧家奥斯特洛夫斯基创作的《大雷雨》在中国20世纪三四十年代的话剧舞台上掀起了一股演出的热潮,这和《大雷雨》的舞台艺术的成功是密不可分的。《大雷雨》在演出的过程中培养出了一批优秀的演员,从而进一步确定了现实主义的表演方法;《大雷雨》的演出版本很多,但多以诗化现实主义的风格出现,这符合中国人的审美口味,深受观众欢迎。The Thunderstorm by Nikolai Ostrovsky,a Soviet dramatist,made a considerable impact on the stage of China in the 1930s and 1940s.The huge success owed a great deal to its fantastic stage art.A group of excellent performers have been produced in this play.Therefore,the realist performing techniques were established.Although various editions of The Thunderstorm can be found,the majority of them were presented in the poetic realist manner.This satisfies the aesthetic preference of Chinese audience and is warmly received by them.

关 键 词：《大雷雨》 中国 表演方法论 导演方法论 

分 类 号：J824[艺术—戏剧戏曲] I512.073[文学—其他各国文学]