不忘自己根何处——斯坦尼斯拉夫斯基与他的助手、学生之间的分歧与矛盾  

Never Forgetting One's Roots:The Disagreements and Conflicts Between Stanislavsky and Assistants and Students

作　　者：陈世雄[1] Chen Shixiong

机构地区：[1]厦门大学电影学院

出　　处：《四川戏剧》2025年第1期6-12,共7页Sichuan Drama

摘　　要：斯坦尼体系包含着核心理论与多种方法,是世界上影响广泛、最深远的表演艺术体系,然而,它并非斯坦尼斯拉夫斯基一人独创的产物,而是他和助手、工作室学员合作,经过数十年的实验、探讨、争论和舞台实践而最终形成的。这一时期,团队中的导师与助手、学生多次发生过分歧、矛盾。斯坦尼斯拉夫斯基逝世后,他的助手、学生继承他的遗产,不断探索,修正、发展了这一体系,产生了新的方法和流派,这一历程,体现了斯坦尼斯拉夫斯基体系的发展逻辑。这种现象合乎规律,值得我们在研究中国戏曲体表演艺术体系时借鉴。The Stanislavsky System,with its core theories and various methods,is one of the most influential and far-reaching methods of performing arts in the world.However,it was not developed solely by Konstantin Stanislavsky himself.Rather,it was a result of decades of experimentation,discussion,debate,and practice with his assistans and students.During those times,disagreents and conflicts frequently arose between the mentor and his assistants and students.After Stanislavsky's death,his assistants and students inherited his legacy,continuing to explore,revise,and improve the system,and generating new methods and schools of thought.The development of the Stanislavsky System reflects its natural evolution and offers valuable insights for studying performaing arts systems of Chinese opera.

关 键 词：斯坦尼斯拉夫斯基 体系 方法与流派 合作与分歧 

分 类 号：G63[文化科学—教育学]