ABSTRACT This essay describes the genesis, process, and results of an experiment on Active Analysis (as developed by Stanislavsky and his protégé Maria Knebel) that was conducted by the author and fifteen actors at the 2018 S Word Symposium at the University of California, Riverside. The experiment was designed to interrogate the boundary between “improvisations” and improvisatory “etudes,” which lie at the heart of Stanislavsky’s last, most innovative rehearsal technique. The experimental design juxtaposed improvisations on concrete objects with etudes that adjusted the content of the improvisations to a “map” of the dynamic principles inherent in Active Analysis. This research design was prompted by the prominent director Anatoly Vasiliev, who explained during a master class that “improvisation is freer than an etude,” which engages actors in a process of “mapping the play.” This process limits actors’ freedom, he added, by placing them within “the confines of that map.” Among the valuable findings of the S Word experiment, one result seemed particularly notable. The actors unanimously reported feeling more secure in the etudes than in the improvisations, because the dynamic structure of the map better allowed them to focus on character relationships, whereas the improvisations had demanded that they pay equal, if not more attention to the creation of story.

中文翻译：

---

即兴和练习曲：主动分析实验

摘要 本文描述了作者和 15 位演员在 2018 年加州大学河滨分校 S Word 研讨会上进行的主动分析实验（由 Stanislavsky 和他的门徒 Maria Knebel 开发）的起源、过程和结果. 该实验旨在探究“即兴演奏”和即兴演奏“练习曲”之间的界限，这是斯坦尼斯拉夫斯基最后的、最具创新性的排练技巧的核心。实验设计将具体物体的即兴表演与练习曲并列，将即兴表演的内容调整为主动分析中固有的动态原则的“地图”。这项研究设计是由著名导演阿纳托利·瓦西里耶夫 (Anatoly Vasiliev) 提出的，他在大师班上解释说“即兴创作比练习曲更自由，”，它让演员参与“绘制戏剧”的过程。他补充说，这个过程限制了演员的自由，将他们置于“地图的范围内”。在 S Word 实验的宝贵发现中，有一个结果似乎特别引人注目。演员们一致表示练习曲比即兴表演更安全，因为地图的动态结构让他们更好地关注角色关系，而即兴表演要求他们平等地，甚至更多地关注故事的创作.