于耻辱中重生——《海鸥》在俄国早期演出的接受与评论(1896-1905)  

Being Reborn in Shame:An Analysis of the Early Reception and Criticism of Seagull in Russia(1896-1905)

作　　者：刘溪[1] Liu Xi

机构地区：[1]北京师范大学外文学院

出　　处：《俄罗斯文艺》2024年第2期66-77,共12页Russian Literature & Arts

基　　金：2021年度国家社科基金艺术学一般项目“契诃夫戏剧与中国话剧的现代性追求”(21BB030)的阶段性成果。

摘　　要：《海鸥》是契诃夫创作的第一部真正意义上的新型剧作,纲领性地展现了新戏剧诗学。对比《海鸥》1896年在圣彼得堡亚历山大剧院首演的失败和1898年在莫斯科艺术剧院复演的成功可发现:《海鸥》在亚历山大剧院首演失败的原因是多方面的,最主要的原因是契诃夫的新型戏剧无法在刻板的演剧程式下获得艺术生命。《海鸥》复演的成功则得益于莫斯科艺术剧院的导演们创造性地以全新的舞台处理方法和表演方法呈现该剧。《海鸥》在莫斯科艺术剧院的成功上演掀开了世界戏剧史上的崭新一页,预示着两个时代--契诃夫戏剧时代和斯坦尼斯拉夫斯基表导演体系时代的到来。Seagull is Chekhov's first truly innovative play,which sets forth the principles of new dramatic poetry.Comparing the failure of the play's premiere at the Alexandrinsky Theatre in St.Petersburg in 1896 with its success in the Moscow Art Theatre's premiere in 1898,it can be concluded that the play failed at its premiere due to various reasons,primarily because Chekhov's new type of drama could not come to artistic life under the rigid theatrical conventions of the time.The success of Seagull in the Moscow Art Theatre was due to the creative stage and performance methods employed by the directors,which opened a new chapter in the history of world theatre and heralded the arrival of two eras-the era of Chekhov's drama and the era of Stanislavski's system.

关 键 词：契诃夫戏剧《海鸥》亚历山大剧院 莫斯科艺术剧院 舞台阐释 

分 类 号：I512.073[文学—其他各国文学] J805[艺术—戏剧戏曲]