我对斯坦尼斯拉夫斯基认识的过程  

My Journey into Stanislavski's System

作　　者：徐晓钟[1] Xu Xiaozhong

机构地区：[1]中央戏剧学院

出　　处：《戏剧(中央戏剧学院学报)》2025年第1期63-65,共3页Drama:The Journal of the Central Academy of Drama

基　　金：2024年中央戏剧学院学术会议“斯坦尼斯拉夫斯基体系与当代”国际学术研讨会成果。

摘　　要：斯坦尼斯拉夫斯基体系在中国的传播自20世纪40年代以来就得到戏剧界的重视,一代代中国戏剧家将其与中国传统表演美学相结合,将“在体验基础上的再体现”与中国民族戏曲美学精神及表现形式相结合,创立了表演理论“中国学派”。当我们再次将斯坦尼斯拉夫斯基与布莱希特的表演方法进行提纲挈领性地对比:明确差异的同时,也应意识到其间并非零和关系,更需关注二者强调的侧重。中国当代戏剧家解决非创作状态的正确方法,是怀揣“实践中的思索”和“思索下的实践”的态度,进一步探索斯坦尼斯拉夫斯基体系。Since the 1940s,Stanislavski's System has been highly regarded within the theatrical community.Generations of Chinese dramatists have integrated this system with traditional Chinese performance aesthetics,blending"experiencing and embodiment"with the aesthetics and expressive modes of Chinese Xiqu to create the performance theory of"Chinese School".Upon re-examining the performance methodologies of Stanislavski and Brecht in a comparative light,it is crucial to recognize their differences,and the fact that their relationship is not a zero-sum relationship.Instead,the focus should be on their specific emphases.For contemporary Chinese dramatists seeking to overcome non-creative states,adopting an attitude of"reflecting in practice"and"practicing guided by reflection"is essential,as it enables them to delve deeper into Stanislavski's System.

关 键 词：斯坦尼斯拉夫斯基体系 中国学派 表演艺术 现实主义 体验与体现 

分 类 号：J83[艺术—戏剧戏曲]