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当我们说到斯坦尼斯拉夫斯基的遗产时,我们所指的不仅是他的文字著作、言论和讲演,而首先应该是他在自己的理论和实际工作中加以确立的那种舞台艺术中新的现实主义方向。这个方向以俄罗斯现实主义艺术的优良传统为依据,而同时又面对着现代生活中新的进步的事物。力求达到具有高度思想性的艺术,达到深刻的生活真实以及真诚而质朴的体验,就是上述方向的基础。至于体系,那是他的创作探索的反映,只有紧密结合创作实践加以探讨,才可能彻底理解它。如果脱离创作实踐,特别是艺术剧院创作实践来谈斯坦尼斯拉夫斯基的新方法,那就是孤立地谈这个方法,没有考虑到它不仅是理论文献,而首先是创造艺术作品的创作方法。
When we speak of Stanislavski’s legacy, we refer not only to his written writings, speeches, and lectures, but above all to the new stage arts he established in his own theoretical and practical work Realist direction. This direction is based on the fine tradition of Russian realist art while at the same time facing new advances in modern life. Striving for a highly thought-provoking art, a deep, authentic life, and a sincere and rustic experience are the foundations of these directions. As for the system, that is a reflection of his exploration of creation, it can only be understood thoroughly if it is studied in close connection with the practice of creation. If we talk about Stanislavski’s new method of separation from the practice of creation, especially the practice of art theater, it is to talk about this method in isolation without considering that it is not only a theoretical document but also a creative method of creating a work of art.