本文是他所著的《表演艺术心理学》中的一个章节,他从不同角度,以莎士比亚、莫里哀、瓦格纳和威尔弟的作品和斯坦斯拉夫斯基、蒂龙·格思里、劳伦斯·奥利弗的艺术实践为实例论证了一个比主观体验更有效的表演创作途径。作者认为在表演创作中虽说演员的感受和体验是需要的,但这并不是表演的目的,表演的根本目的还是为了能让观众体验到这种情感。这种和想象学派相对的技术学派的观点目前在西方是很有代表性的。对我们当前的表演教学改革也是很有参考价值的。 This article is a chapter in his book Performance Psychology of Performing Arts. From different angles, he works with works by Shakespeare, Moliere, Wagner and Will and Stalinski, Tiron Guthrie and Lawrence Oliver’s artistic practice demonstrates an effective approach to performance creation than the subjective experience. The author believes that although performers’ feelings and experiences are needed in performance, this is not the purpose of performance. The fundamental purpose of performance is to enable the audience to experience such feelings. This view of the technical school as opposed to the imagination school is currently very representative in the West. It is also a valuable reference for our current performance teaching reform.