论章泯对中国话剧演剧理论建设的推进——以其在1935—1937年间借鉴斯坦尼体系的导演活动为中心  

Zhang Min's Advancement of Theoretical Construction of Chinese Modern Drama Performance——A Case Study of His Directing Activities(1935-1937)Referring to Stanislavsky's Acting System

作　　者：张华[1] Zhang Hua

机构地区：[1]安徽师范大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第6期55-75,共21页Drama:The Journal of the Central Academy of Drama

基　　金：2020年度安徽省哲学科学规划项目“抗战时期左翼戏剧期刊群研究(1931-1945)”(项目编号:AHSKY2020D144)的阶段性成果。

摘　　要：章泯对中国话剧演剧的贡献是多方面的。作为重要的话剧理论家和导演,他通过对演剧艺术独立性与舞台艺术整体性等问题的探索和相关实践,推进了中国话剧演剧观念的现代生成;作为“斯坦尼体系在中国”的早期践行者,其主要借鉴方式、实现路径和理论关切点,涉及以表导演者为核心的所有话剧创作主体,并集中体现在1935-1937年间的导演活动中。其中,从“内心的化装”到“体验与表现的辩证统一”,显示了他对斯坦尼“心理现实主义”演剧的渐进式领会和理论审思意识;从“三种作用”到“更高的创造表现”,则表明其导演观念虽深受莫斯科艺术剧院的影响,但也具有内在结构的多元性和“中国化”探索意识,以及面向中国话剧演剧未来的发展眼光。Zhang Min's contributions to Chinese modern drama performance are manifold.As an important theorist and director of modern drama,he promoted the modernization of the concept of modern drama through his exploration and practice of the independence of performing art and the wholeness of stage art.He was an early practitioner of the Stanislavsky's acting system in China,with the main methods of reference,paths of realization,and theoretical concerns covering all practitioners of modern drama,which can be seen from his directing activities from 1935 to 1937.The"inner disguise"and"dialectical unity of experience and expression",put forward during this period,shows his progressive understanding of and theoretical reflection on Stanislavsky's"psychological realism"in performance.The"three functions"and"higher creative expression"he proposed indicates his conscious exploration to pluralize internal structures and adapt the system to China's conditions,as well as his vision in developing modern drama performance,for all the deep influence of the Moscow Art Theatre on his concept of directing.

关 键 词：章泯 中国话剧演剧 理论建设 斯坦尼体系 

分 类 号：J82[艺术—戏剧戏曲]