我们在跨文化演员训练中稀释、误解与遗漏了哪些西方理念?——在英国皇家中央演讲与戏剧学院的观察、实践与反思  

What Western Ideas Have We Diluted,Misunderstood and Missed in Intercultural Actor Training?--Observation,Practice and Reflection at the Royal Central School of Speech and Drama

作　　者：祁劭媛 Qi Shaoyuan

机构地区：[1]英国皇家艺术学会

出　　处：《戏剧（中央戏剧学院学报）》2024年第2期156-175,共20页Drama:The Journal of the Central Academy of Drama

摘　　要：本文以作者在英国皇家中央演讲与戏剧学院演员训练与指导(艺术硕士)专业的学习为背景,采用混合研究法反思了中国从业者在跨文化演员训练中所稀释、误解与遗漏的西方当代主要理念。首先,作者重新定义了“演员训练”,纠正了“表演风格”“三大表演体系”等误导性提法与观念;其次,作者厘清了易引发观念之“误”的核心表演术语,包括“解放天性”“存在”“能量”“形体”“行动与动作”“玩”“乐趣”;最后,通过批判与剖析过度依赖“心理技术”的创作方式对演员行动所造成的障碍,作者主张中国从业者应利用“跨文化”中固有的“差异”,特别是借鉴英国“选择行动动词”技术来丰富“行动”的技能与促进演员训练。This paper,grounded in the author's studies in the Actor Training and Coaching MFA programme at the Royal Central School of Speech and Drama,employs a mixed-methods approach to critically reflect on the key contemporary Western ideas and concepts that Chinese practitioners have diluted,misunderstood and missed in intercultural actor training.Firstly,the author redefines"actor training",correcting misleading labels and notions,such as"acting style"and"three major acting systems".Subsequently,the author clarifies core acting terminology prone to conceptual misunderstanding,including"unlocking one's natural instincts,""presence,""energy,""physicality,""action and movement,""play,"and"fun".Lastly,through a critical analysis of the obstructions in actors'execution of actions caused by excessive reliance on""psychological technique",the author argues that Chinese practitioners should leverage the""differences"inherent in"interculturalism",specifically by adopting the British Actioning technique,to enrich their action-centered skills and facilitate actor training.

关 键 词：跨文化演员训练 西方表演理念 表演术语 斯坦尼斯拉夫斯基“心理技术” 英国“选择行动动词”心理—形体行动技术 

分 类 号：J812[艺术—戏剧戏曲]