本文選題：焦菊隱 + 心象說��； 參考：《北京師范大學(xué)學(xué)報(社會科學(xué)版)》2017年03期

【摘要】：有學(xué)者稱焦菊隱的“心象說”對斯坦尼斯拉夫斯基表演體系存在誤解,“心象說”應(yīng)該看作焦菊隱綜合體驗、表現(xiàn)及中國傳統(tǒng)戲曲理論的結(jié)果,然而,通過考察焦菊隱研讀斯氏著作的史實,并將焦菊隱所論與斯氏相關(guān)著述對讀,可以看出:焦菊隱所說“在你生活于角色之前,首先使角色生活于你”雖非斯氏原話,但也不是隨意杜撰;而焦菊隱對斯氏《演員自我修養(yǎng)》第二部有關(guān)“性格化”的理解,恰與斯氏手稿之言不謀而合。焦菊隱的“心象說”并未違背斯氏體系精神,只是在方法層面上有所不同,故與其說焦菊隱的“心象說”是綜合三家之說的產(chǎn)物,不如說是斯氏表演體系的中國變體。
[Abstract]:Some scholars say that Jiao Juyin's "mind vision" has a misunderstanding of Stanislavsky's performance system, and that "mind vision" should be regarded as the result of Jiao Juyin's comprehensive experience, performance and Chinese traditional opera theory. By examining the historical facts of Jiao Juyin's works and comparing Jiao Juyin's related works with his works, we can see that Jiao Juyin says, "before you live in a role, first make the character live in you." But it is not arbitrary; Jiao Juyin's understanding of character in the second installment coincides with his manuscripts. Jiao Juyin's "mind vision theory" is not contrary to the spirit of his system, but is different in method, so Jiao Juyin's "mind vision theory" is not so much a product of the three theories as a Chinese variant of his performance system.
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本文編號：1977547