论“十七年”时期的表演话语与政治认同——以郑君里等人对斯坦尼斯拉夫斯基的接受为例  

Performance Theory and Political Identification during the“Seventeen Years”:ACase Study of Zheng Junli's View of Stanislavski

作　　者：蒋浩伟 Jiang Haowei

机构地区：[1]南京大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2023年第6期76-89,共14页Drama:The Journal of the Central Academy of Drama

基　　金：“江苏省卓越博士后计划”(项目编号:2022ZB67)的阶段性成果;教育部哲学社会科学研究重大课题攻关项目“多卷本《俄国戏剧史》编撰与重要资料的翻译研究”(项目编号:19JZD030)的阶段性成果。

摘　　要：在1949到1966年之间,国内对于斯坦尼斯拉夫斯基演剧理论的接受呈现出由全面学习到全方位批判的过程。在这个过程中,对斯氏理论的歪曲和误读自有一套稳固和悖反的说辞,形成了这一时期特有的表演话语和政治认同相结合的模式—一方面颠倒了斯氏从自我出发的“体验表演”,要求演员在表演正面人物时从角色出发进行自我改造,另一方面则要求演员从无产阶级立场出发去批判性地饰演反面人物。这种“同构化”的表演政治观不仅挪用和曲解了斯氏的演剧理论,也导致许多演员现实自我与舞台自我认同关系上的混乱。During the seventeen years prior to the"Cultural Revolution",the once revered Stanislavski and his drama theory became the target of criticism.Those who distorted and demolished Stanislavski's theory claimed to have valid reasons and believed that they were establishing a new mode of performance which was in fact highly political.Instead of asking actors to emphasize with characters to create believable portrayals,as Stanislavski advocated,they required actors to reinvent themselves and portray positive characters while make villains as repugnant as possible,from the perspective of the proletariat.This approach to performance politics not only distorts Stanislavski's theory of dramatic performance but also confuses the relationship between an actor's true self and their stage persona.

关 键 词：“十七年” 斯坦尼斯拉夫斯基 郑君里 《角色的诞生》 《武训传》 

分 类 号：J82[艺术—戏剧戏曲]