麦克尔·契诃夫表演理论与戏曲表演美学之比较被引量：1

A Comparison of Michael Chekhov's Theories of Performing Arts with the Aesthetics of Traditional Chinese Opera

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摘要麦克尔·契诃夫在其一生中,对演员的表演训练进行了大量艰苦卓绝的探索,首创了"双重意识""四兄弟""心理姿势""气氛说"等理论和训练方法。这些理论与中国戏曲表演的美学特征具有诸多的相通性,譬如"神似""跳进跳出""写意泛美""程式思维"等。中国戏曲美学应该立足于自己的文化传统,创造性地把国外的先进经验融合起来,构建一个具有民族特色的,同时又具有现代美学和国际视野的可操作的表演体系。 Michael Chekhov made extensive explorations of actors training throughout his life, and innovated theories and training methods such as the ＂dual consciousness＂ of the actor, the ＂four brothers＂of movements, the ＂psychological gesture＂, and the ＂theory of the atmosphere＂. These all share similarities with the aesthetic features of the performing arts in traditional Chinese opera： the ＂resemblance of the spirit＂, ＂being inside and outside the role＂, the ＂spiritual expression and the comprehensive beauty＂, and the ＂conventionalized mode of thinking＂. This intersection allows Traditional Chinese opera to keeps its own culture while incorporating methods from abroad.

作者肖英

机构地区上海戏剧学院表演系

出处《戏剧艺术》 CSSCI 北大核心 2016年第2期87-95,共9页 Theatre Arts

关键词麦克尔·契诃夫戏曲美学心理姿势程式思维 Michael Chekhov the aesthetics of traditional Chinese opera psychological gesture conventionalized mode of thinking

分类号 J80 [艺术—戏剧戏曲]

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参考文献2

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