斯坦尼斯拉夫斯基体系在20世纪30年代的发展及其出版历史  

Development of Stanislavsky's System in the 1930s and the History of Its Publication

作　　者： 陈世雄(译) Sergei Tcherkasski;CHEN Shixiong

机构地区：[1]圣彼得堡俄罗斯国立舞台艺术学院 [2]中央戏剧学院戏剧艺术研究所 [3]厦门大学电影学院

出　　处：《戏剧艺术》2025年第1期1-30,共30页Theatre Arts

基　　金：国家哲学社会科学基金一般项目“俄罗斯戏剧批评史”(21BB032)的阶段性成果。

摘　　要：对于斯坦尼斯拉夫斯基体系在20世纪30年代的发展及其出版历史,俄罗斯和世界戏剧界的理解有两个特点:第一,“体系”创造者对其工作的书面陈述是不完整的;第二,斯坦尼斯拉夫斯基晚期创作研究具有多面性。斯坦尼斯拉夫斯基体系发展的逻辑是:从早期分析时期对创造性自我感觉的独立要素进行分析,发现无意识过程在演员创造力中的作用,到后期综合时期发展出各种有意识的方法,启动演员创造力的无意识过程,以此产生创造性自我感觉。在斯坦尼斯拉夫斯基体系发展的历程中,不同时期、不同阶段存在着方法论的变化。斯坦尼斯拉夫斯基在不同时期的探索看似相互排斥,但实际上他始终忠实于其探索的首要任务——在舞台有机生命的创造中寻找客观的自然规律。There are two key characteristics in understanding the development of Stanislavsky's system in the 1930s and its publication history,both within Russia and the global theatre world:first,the creator of the"System"did not provide a complete written account of his works;second,the study of Stanislavsky's late works exhibits multifaceted aspects.The logic behind the development of the Stanislavsky System is as follows:from the early analytical period,which involved dissecting the independent elements of creative self-sensation,and led to the discovery of the role of unconscious processes in the actor's creativity,to the later integrative period,which developed various conscious methods to activate the unconscious processes of an actor's creativity,thereby generating creative self-awareness.Throughout the development of the Stanislavsky System,methodological changes occurred across different periods and stages.While Stanislavsky's explorations in different periods may appear contradictory,he consistently remained faithful to his primary objective:searching for objective natural laws in the creation of the organic life on stage.

关 键 词：斯坦尼斯拉夫斯基体系 发展历史 出版历史 整体性 

分 类 号：J80[艺术—戏剧戏曲]