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1909年,我还是一个二十岁的青年,当时我读完了彼得堡戏剧学校,对自己,对自己的能力、知识和技术满怀着信心,大踏步地走上了艰难的演员道路……然而一开始就遇到了困难。我读完戏剧学校后,加入了“禁酒会”剧院的剧团。我那幼稚而微弱的声音马上就淹没在我的同事们——该院其他演员的熟练演技的响亮的浪涛声里去了。从这时起就开始出现了一连串不断交替着的希望和苦恼,有时我甚至苦恼到完全绝望的地步,——这是每一个献身舞台工作的人都熟悉的情形。在我们的艺术中缺乏精确的知识和理论基础,这种在许多人认为是理所当然的、合乎戏剧本性的现象,正在不小的程度上促成了令人痛苦的创作危机。斯坦尼斯拉夫斯基照亮了创作过程中许多晦暗模糊的地方,使我们不再在荒僻的小径上徘徊,给我们指出了掌握技巧的最正碓、最可靠的道路。我很幸运,能在他的直接领导下工作过一个时期。斯坦尼斯拉夫斯基在培养演员时,不仅教给他业务技术,而且还使他在精神上获得全面的发展,引导他走上把艺术作为社会事业而为之献身的道路。“爱自己心中的艺术,而不是爱艺术中的自己,”他这样说。自己心中的艺术,用最先进的表演技术武装起来并具有以现时代的伟大思想来教育人民的崇高目的的艺术,正是斯坦尼斯拉夫斯基一贯的理想。斯坦尼斯拉夫斯基的巨大威望和他对演员的创作天性的深湛知识,使他能够在处理演员时进行大胆的试验。他对演员所提出的高度的要求,归根到底是要使演员能够比较容易地克服困难,能够比较简单明确地解决体现舞台形象的任务。为了追念伟大的戏剧导师,同时由于觉得自己对他负着无法偿还的债务,因此我抱定决心要宣传他的思想。当我和我们戏剧界青年们谈起演员技术时,我每次都感到他们对斯坦尼斯拉夫斯基的一切都有着强烈的兴趣。这启示着我决意写出一部回忆录,记述我最后几次同这位天才大师在创作上接触的情形,谈谈他所发现的创造演出和创造角色的新途径,以便于我们好学的青年能够比较容易地瞭解斯坦尼斯拉夫斯基的方法。
In 1909, I was still a 20-year-old youth, when I finished the Petersburg Theater School, full of confidence in myself, my ability, knowledge and technology, strode a tough actor road ... However, the beginning I encountered difficulties. After I finished the drama school, I joined the theater of the “Prohibition” Theater. My immature and feeble voice was soon overwhelmed by the loud waves of my colleagues, the skilled acting of the rest of the court. From this moment on, a series of constantly-changing hopes and distractions began to emerge, and sometimes I even became distressed to the point of complete despair - a familiar situation for everyone who dedicated themselves to the stage work. The lack of precise knowledge and theoretical foundations in our art, a phenomenon considered by many as a matter of course and drama-based, is contributing to a painful creative crisis to a small degree. Stanislavski illuminated many of the dark and vague aspects of the creative process that stopped us from hovering over desolate paths, pointing us to the most positive and reliable way of mastering skills. I am fortunate to have worked for a period under his direct leadership. Stanislavsky not only taught him business skills while nurturing an actor, but also gave him an overall spiritual development that led him to the path of devotion to art as a social undertaking. “Love the art in your heart, not the art yourself,” he said. It is Stanislavsky’s ideal that the art of his own heart, armed with the most advanced performance techniques, and capable of educating the noble objective of the people with the great ideas of our time. Stanislavski’s immense prestige and his deep knowledge of the creative nature of the cast allowed him to experiment boldly with the cast. His high demands on the actors, in the final analysis, are to enable the actors to overcome difficulties more easily and to solve the task of reflecting the stage image more simply and clearly. In memory of the great theater instructor, and at the same time, I felt determined to publicize his thoughts because I felt I was under indebtedness to him. When I talk about acting skills with young people in our theater industry, I feel every time they have a strong interest in everything Stanislavski. It inspired my determination to write a memoir of the last few encounters with this master of genius in creative writing about the new ways he discovered to create shows and create characters so that our studious youth could compare Easy to understand Stanislavski’s method.