焦菊隐的“心象”术语与斯氏体系关系的再辨析

On the Relationship between Jiao Juyin’s“Xin Xiang”and Stanislavski System

本文将焦菊隐的"心象"术语从"心象"学说中剥离出来,对历来关于"心象"与"内心视象""性格化"内在关系的重要观点进行梳理,辨析其中合理、疏漏或谬误之处。根据斯氏著作相关内容,澄清"心象"术语的内涵与外延,进一步厘清上述三个术语之间的关系;探究焦菊隐在不同阶段,对斯氏体系"内心视象""性格化"术语不同的理解,追溯其为何将这两个术语贯通并置,应用于"心象"方法中的原因与动机。

This article differentiates the term“Xin Xiang”by Jiao Juyin from his theory about Xin Xiang,which is“image”in literal translation.Besides,the crucial opinions concerning the internal relationships among“Xin Xiang”,“inner images”and“characterization”are analysed,so that the rationality,omissions and fallacies are exposed.Based on Stanislavski’s related works,the connotation and the denotation of the term“Xin Xiang”are defined and the relationships between“Xin Xiang”,“inner vision”and“characterization”are clarified further.Then,the issues are studied about Jiao Juyin’s different understanding and adaptation of“inner images”and“characterization”borrowed from Stanislavski system in his different acting phases.Moreover,his mastery of the two terms“inner images”and“characterization”,and the reason as well as his motivation of applying them into“Xin Xiang”method are discussed.