“后斯坦尼时代”身心合一表演训练探析  

Analysis of the Integration of Body and Mind in the“Post-Stanislavski Era”Performance Training

作　　者：肖英[1] XIAO Ying

机构地区：[1]上海戏剧学院表演系

出　　处：《戏剧艺术》2024年第3期141-153,共13页Theatre Arts

摘　　要：20世纪上半叶,斯坦尼斯拉夫斯基揭示了表演创作所依循的重要规律——“有机天性”,以此建立了斯坦尼体系。进入21世纪的“后斯坦尼时代”,以“身心合一”为原则的表演训练,丰富和发展了斯坦尼体系与表演学科。“身心合一”的理念是斯坦尼体系“有机天性”学说具象化、科学化的延续,是对斯坦尼斯拉夫斯基“形体动作方法”的呼应与发展。它符合人的天性规律,是发展表演学科和培养表演人才的高效手段,应该不断被完善,以应用于表演教学中。In the early 20th century,Stanislavski discovered the important principle of“organic nature”in performance creation,establishing the Stanislavski system based on this.In the“post-Stanislavski era”of the 21st century,performance training guided by the principle of“integration of body and mind”has enriched and developed both the Stanislavski system and the discipline of performance.The concept of“integration of body and mind”is a concrete and scientific extension of the Stanislavski system,s theory of“organic nature”,and responds to and advances Stanislavski,s“method of physical action”.Aligned with human nature,s principles,it serves as an efficient means for developing the discipline of performance and cultivating talent in the field.Continual refinement is necessary for its application in performance teaching.

关 键 词：后斯坦尼时代 身心合一 表演训练 现当代西方表演方法 

分 类 号：J80[艺术—戏剧戏曲]