形体动作方法在中国的接受与批判--兼论形体动作方法概念的内涵与外延

On Stanislavski's Method of Physical Action in China

形体动作方法作为斯坦尼斯拉夫斯基体系发展的最高峰,于20世纪50年代被引入中国后,对中国话剧产生了巨大影响。北京人民艺术剧院将该方法视作自己演剧风格的奠基构成。本文首先对形体动作方法的译名进行辨析,包括梳理"动作"与"行动"术语翻译所引发的争议,研究其所反映出的问题;其次就形体动作方法的内涵与外延,其与行动分析方法、小品方法的关系展开思考,为进一步研究其在中国的传播奠定基础。

The Method of Physical Action, the peak of Stanislavski＇s system, has impacted greatly on Chinese drama, since it was introduced to China in 1950s. Later, it developed as the foundation for the performing style of Beijing People＇s Art Theatre. This article analyzes the translated version of the term the Method of Physical Action, including the debates aroused by the two Chinese translated terms ＂movement＂ and ＂action＂, and other issues related to the translation. Besides, the connotation and the denotation of the Method of Physical Action, its relationship with active analysis method, and sketch techniques have also been expounded in the article, which will lay the foundation for its further study in China.