论古里叶夫对斯坦尼体系“行动学说”的理论阐释  

On Guryev's Theoretical Interpretation of Stanislavski's System of “Theory of Action”

作　　者：李贤年[1] Li Xiannian

机构地区：[1]云南艺术学院

出　　处：《戏剧(中央戏剧学院学报)》2025年第1期66-80,共15页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金艺术学重大项目(项目编号:20ZD21)“中国话剧演剧学派研究”的阶段性成果。

摘　　要：20世纪50年代,苏联戏剧家格·尼·古里叶夫在援华期间,组织多次关于斯坦尼斯拉夫斯基体系的讲述活动,产生了较为广泛的影响。他对“体系”的理论阐释,可以看作观测特定时代“体系”发展传播的一个缩影。他以唯物论为逻辑起点,以“两个阶段论”把“体系”分离成新旧两个派别,认为斯坦尼斯拉夫斯基在俄罗斯帝国时期的“情绪记忆学说”带有唯心论的错误倾向,只有其在苏维埃时代发展出的“行动学说”才是真正意义上的“体系”。这种学说强调“体系”的物质属性,以可见的“形体行动方法”综合一切心理技术,追求“身心合一”的舞台效果,对中国戏剧的影响巨大。In the 1950s, during his mission to assist China, Soviet dramatist George Nikolayevich Guryev organized multiple lectures on Stanislavski's System, which had a wide-ranging impact.His theoretical interpretation of the “System” can be seen as a microcosm of the development and dissemination of the “System” during a specific era. Starting from the premise of materialism, he used the "two-stage theory" to divide the “System” into two factions: the old and the new. He argued that Stanislavski's “Theory of Emotion Memory” from the pre-revolutionary Russian period contained idealistic errors, and only the “Theory of Action” developed during the Soviet era represented the true essence of the “System”. This theory emphasizes the material nature of the “System”, integrating all psychological techniques through the visible “Method of Physical Actions” to achieve a “mind-body unity” on stage, exerting a profound influence on Chinese theatre.

关 键 词：苏联戏剧专家 格·尼·古里叶夫 斯坦尼体系 “行动学说” 中国话剧演剧 

分 类 号：J83[艺术—戏剧戏曲]