發(fā)布時(shí)間：2018-03-02 05:03

  本文關(guān)鍵詞： 左翼劇人 大劇場(chǎng)公演 斯坦尼斯拉夫斯基體系　出處：《東岳論叢》2016年09期 　論文類型：期刊論文

【摘要】：1930年代的上海左翼戲劇運(yùn)動(dòng),與新興的電影工業(yè)之間有密切的互動(dòng)關(guān)系。電影工業(yè)一方面是左翼劇運(yùn)需面對(duì)的一種強(qiáng)大的收編性力量,另一方面又在明星制度與市場(chǎng)運(yùn)作方式上給它提供了啟發(fā),使其實(shí)現(xiàn)了繁榮的大劇場(chǎng)公演與初步的職業(yè)化。在這一轉(zhuǎn)變過程中,左翼劇運(yùn)由漂浮于社會(huì)結(jié)構(gòu)之上的激進(jìn)的"梅耶荷德傾向",逐漸移動(dòng)到社會(huì)結(jié)構(gòu)內(nèi)部;演員經(jīng)由對(duì)斯坦尼斯拉夫斯基體系的學(xué)習(xí),也自覺地深入到角色內(nèi)部,追求"靈魂的化裝",磨礪了演劇藝術(shù)。但左翼劇運(yùn)還由此形成了一個(gè)閉合結(jié)構(gòu),劇壇紛爭(zhēng)此起彼伏。
[Abstract]:The Shanghai left-wing drama movement in the 1930s had a close interaction with the emerging film industry, which, on the one hand, was a powerful collection force for left-wing drama. On the other hand, it has been inspired by the star system and the way the market works, which has enabled it to realize a prosperous grand theater public performance and preliminary professionalization. The left-wing drama movement gradually moved to the social structure from the radical "Meyerhead tendency" floating above the social structure; the actors and actresses, through the study of Stanislavsky's system, also consciously penetrated into the characters. The pursuit of "the makeup of the soul" sharpens the art of drama.
【作者單位】： 山東師范大學(xué)文學(xué)院;
【分類號(hào)】：J809.2;K263
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本文編號(hào)：1555105