导演艺术教学——俄罗斯的方法（英文）

Teaching the Art of Directing: Russian Ways

俄罗斯戏剧导演学位教育自1925以来不断发展。本文论述了圣彼得堡专业戏剧学院关于这一课程的安排和方法论基础。大部分导演工作室的主任教师都依赖于自己对不同部分和时期的斯坦尼斯拉夫斯基方法不断地更新诠释:"动作分析"、"训练技巧"、"身体动作",并将其与被梅耶荷德所阐释的结构性作品结合起来。戏剧流派的发展趋势或许可以分为古典的(具有现实主义的再现倾向)、非古典的(开放式剧场、隐喻、形而上的艺术),后-非古典主义的(后戏剧剧场,沉浸式戏剧,特定场地项目、行为表演),每种趋势都有特定的教学哲学和方法论。尽管存在许多差异,但任何导演课程的教学逻辑都是培养运用戏剧语言进行创作的能力,学习从文学语言到舞台语言的翻译,达到各个创作层面的完整性,运用空间、结构以及节奏作为指挥的手段。五年的导演课程开始于各种创造作品素材和资源的练习;下一个阶段,学生运用非戏剧的材料工作,把它们从零级别开始创作成各个级别的戏剧行动;接下来,到上演戏剧场景时,他们必须通过运用戏剧元素来创作戏剧动作结构,拒绝图解文学和对真实生活的模仿。本文包括了对三位持有不同艺术观念的杰出导演——米哈伊尔·伊莱恩、阿纳托利·普劳丁、安德烈·莫古奇——关于他们各自教学方法的访谈。

Academic degree education of theatre directors in Russia has continuously developed since 1925. This paper discusses the arrangement and basic methodology of this program at contemporary professional theatre school in St. Petersburg. Headmaster teachers at most directing studios rely on their own updated interpretation of various parts and periods of the Stanislavsky Method： ＂action analysis＂,＂ sttude techniques＂, and ＂physical action＂; then combine it with structural composition of production as expanded upon by Meyerhold. Trends in theatre school may be divided as classical （with tendency towards realistic representation）, non-classical （openly theatrical, metaphorical, metaphysical art）, and post-nonclassical （ post-dramatic theatre, immersive theatre, site-specific projects, pefformative practices）. Each trend has a specific philosophy and methodology of teaching. Despite many differences, the fundamentals of education in any directing class are training the ability to compose with the use of the language of theatre; translating from the language of literature to the language of stage; reaching integrity on many levels of composition; and to using space, structure and rhythm as means of directing. The five- year-long class of directing starts with exercises and 6tudes that create material and sources of production. In the next stage, students work with non-dramatic material with a goal of creating all levels of theatrical action from level zero. Later, when staging dramatic scenes, they create theatrical action structure and reject both the illustration of literature and the imitation of authentic life through composing theatrical equivalents. This paper includes interviews with presentations of teaching methods by three prominent directors with different artistic mentalities： Mikhail Ilyin, Anatoly Praudin, and Andrei Moguchy.