“情绪记忆”辨析——从斯坦尼斯拉夫斯基到李·斯特拉斯伯格

Discussion on“Emotional Memory”:From Stanislavski to Lee Strasberg

作为斯坦尼斯拉夫斯基演剧体系体验创作过程中的心理技术元素,“情绪记忆”在美国方法派表演中却扮演了超出原本价值、至关重要的角色。从斯坦尼斯拉夫斯基的提出到李·斯特拉斯伯格的相对完善,“情绪记忆”在表演创作中的地位、性质以及工作原理都发生了变化,两位戏剧大师对“情绪记忆”的不同理解及运用造成了诸多认识上的含混不清。基于历史环境、学习经验、探索目标以及个人的艺术追求等多方面原因,李·斯特拉斯伯格对于“情绪记忆”的认识已经超越了斯氏体系的理论边界,将其发展成为方法派表演的代表性技术。

As a psycho-technical element in the experiential creation process of Stanislavsky's drama system,“emotional memory”plays a crucial role in American Method performancebeyond its original value.From Stanislavsky's proposal to Lee Strasberg's relative perfection,the status,nature and working principle of“emotional memory”in performance creation have changed,and the two theater masters'different understandings and applications of“emotional memory”have caused many ambiguities.Based on various reasons such as historical environment,learning experience,exploration goals,and personal artistic pursuits,Lee Strasberg's understanding of“emotional memory”has transcended theoretical boundaries of Strasberg's system and thus developed it into a representative technique of the method school of performance.