發(fā)布時(shí)間：2018-03-25 16:30

  本文選題：梅耶荷德　切入點(diǎn)：左翼文學(xué)　出處：《文藝?yán)碚撆c批評(píng)》2015年06期

【摘要】：正在中國(guó)話劇史上,斯坦尼斯拉夫斯基是一個(gè)響亮的名字。自1930年代中后期起為更多人知曉,他在中國(guó)聲譽(yù)日隆,"斯坦尼斯拉夫斯基體系"后來還一度發(fā)展成為支配性的存在。兩相對(duì)比,堪與斯坦尼斯拉夫斯基并稱的另一位俄蘇舞臺(tái)藝術(shù)家梅耶荷德的形象,則要黯淡許多。不僅譯介文字相當(dāng)零星,[1]追摹的實(shí)踐似乎也尤其稀少。個(gè)中原因當(dāng)然很多。比如說,斯氏身后留下了解說"體系"的皇皇巨著,中文譯本不絕如縷,后學(xué)循此,便于登堂入室;而梅耶荷德一生,創(chuàng)作
[Abstract]:Stanislavsky is a resounding name in the history of Chinese drama. It has been known to more people since the middle and late 1930s. His reputation in China is growing, and the Stanislawski system has since developed into a dominant existence. In contrast, the image of another Russian Soviet stage artist, Meyahoe, is comparable to that of Stanislav. Not only did the translation and introduction of the text seem rather sporadic, but the practice of copying [1] also seemed to be particularly rare. Of course, there are many reasons for this. For example, Sze left behind a king's masterpiece to understand the "system". It was easy to go to the house; Meyerod, in his life, wrote
【作者單位】： 山東師范大學(xué)文學(xué)院;
【分類號(hào)】：J824

【參考文獻(xiàn)】

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