摘要
作为世界三大戏剧理论的斯坦尼体系、布莱西特体系和梅兰芳体系实际上有许多相融的地方。如对现实主义的共同追求,注重表演的真情实感,寓教于乐等等。这三大体系对中国当代戏剧理论都产生了较大的影响。焦菊隐融斯坦尼与梅兰芳体系于一身,创立中国自己的演剧学派,黄佐临则把布莱西特和梅兰芳结合,创造出既现代化又民族化的中国戏剧形式,徐晓钟融会三家,创造了从“再现美学”向“表现美学”拓宽的戏剧艺术,从而使中国当代戏剧理论获得了长足的进步。
The three world drama theories, namely, Stannie' s system, Brist' s system and Mei Lan-fang' s system, virtually have much in common in their mutual pursuit of realism, priority to genuine sentiments in performance and the implementation of education in recreational manners, etc. The three drama systems have exerted a tremendous influence on the theories of modern Chinese drama, as has been manifest in Zhao Ju-yin's establishment of the dramatic performance school with Chinese characteristics by virtue of learning from both Stannie' s and Mei lan-fang's drama theories, in Huang Zuo-lin' s creation of the modernized and nationalized Chinese dramatic pattern through his integration of Brist' s and Mei Lan-fang' s drama theories and in Xu Xiao-zhong' s cultivation of his unique drama art by means of incorporating the three drama theories. It is in this way that marked progress has been secured in modern Chinese drama theories.
