自从关于史坦尼斯拉夫斯基体系诸问题的讨论开始以来,已经有好些时日了。在讨论的进程中,许多问题开始明确起来,关于史坦尼斯拉夫斯基的某些术语的实质的意义也达到协议,这些术语由于含义不明曾经引起不少令人苦恼的误解。但奇怪的是,关于体系中最主要之点,关于体系创立的目的,却几乎一直没有提到。我所指的就是演员的再体现。关于它,许多论文中并没有写到,在无数次的讨论中和创作会议上也都没有谈起。我们在列宁格勒普希金话剧院也开过几次这样的会,但并没有进行过关于再体现的讨论,尽管有极多数演员在自己的扮演工作中都做不到再体现。 There has been some time since the discussion of the problems of the Stanislavsky system began. During the course of the discussion many questions began to be clarified, and the substantive implications of certain terms relating to Stanislavsky were also reached. These terms have caused a number of distressing misunderstandings due to their unclear meaning. But what is strange is that, with regard to the most important point in the system, the purpose of system establishment is almost never mentioned. I am referring to the re-embodiment of the actor. Many papers on it have not been written, nor have they been discussed during numerous discussions and writing conferences. We did this several times at Pushkin Theater in Leningrad, but there was no discussion of redeployment, even though the vast majority of actors could not reflect in their own work.