斯坦尼斯拉夫斯基到格洛托夫斯基:从演员到表演者或行者  

Stanislavskyto Grotowski:Actorto Performer/Doer

作　　者： 黄彦茜(译) Maria Shevtsova Trans;Huang Yanxi

机构地区：[1]伦敦大学 [2]欧洲科学院 [3]武汉大学艺术学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第6期34-44,共11页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金艺术学重大项目“当代欧美戏剧理论前沿问题研究”(项目编号:18ZD06)的阶段性成果。

摘　　要：斯坦尼斯拉夫斯基的“人类精神生活”是他所理解的成为有机天性演员,而不是仅凭动作和台词的演员的核心理念。玛利亚·谢弗索娃(Maria Shevtsova)在文中探讨了斯坦尼斯拉夫斯基对演员的期望和格洛托夫斯基的“神圣”演员之间的联系,认为后者与身体虚构和灵魂展现有关,不仅作为戏剧的呈现,也为戏剧的在场提供了动力。演员“训练”的概念,因为斯坦尼斯拉夫斯基的演员自我专注和实践探索观念被重新审视。格洛托夫斯基关于戏剧在场研究首要基础是表演者,而后是行者。其理念一直是“ZAR剧团”(Teatr ZAR)歌唱者(singer-movers)的催化剂,而这一团体的精神之旅旨归同时也被其观众广泛分享。Stanislavsky's'life of the human spirit'is at the heart of his understanding of how the actor could become an organic actor rather than a player of borrowed actions and lines.In this article Maria Shevtsova explores the links between Stanislavsky's aspirations for the actor and Grotowski's‘holy'actor,the latter providing the impetus for a theatre of presence rather than one of presentation--one that is concerned with the embodiment of fictional bodies and souls.The notion of actor'training'is re-examined in the light of Stanislavsky's practice concerning the actor's mindful and probing work on himself/herself.Grotowski's work on presence-in-action,the basis first of the performer and then of of the doer,has been a catalyst for the singer-movers of Teatr ZAR and this group's goal of spiritual journeying,shared also by its spectators.

关 键 词：“人类精神生活” “神圣”演员 集体剧场 在场表演 颂歌 

分 类 号：J83[艺术—戏剧戏曲]