ABSTRACT Haltung (variously translated as attitude, stance, bearing, posture or demeanour) is as central to Brecht’s approach as the concept of Super-Objective is to Stanislavsky’s. For the actor seeking to draw on both traditions, dialectical tensions can arise between Haltung/Attitude (a sociological construct, essentially fluctuating and inconsistent) and Super-Objective (a psychological concept, fundamentally constant and stable). This paper proposes incorporating these apparently contradictory concepts into a unified working methodology for the actor. The paper starts by reviewing key theoretical pronouncements made by Brecht in relation to Haltung and describes an interesting extension of this concept in the practice of a contemporary theatre company. Brecht’s views on personality and, by extension, of dramatic character, are reviewed and tested in the light of current perspectives in the psychology of individual difference. The paper goes on to examine the concept of Haltung in light of Stanislavsky’s notion of “inner tone” and considers that current models of personality as well as the rehearsal practices of Brecht’s main actors support a conflation of the notions of Haltung and Super-Objective, yet concludes that the adoption of a Haltung of necessity leads actors to selecting a certain type of Super-Objective and “inner tone”, here defined as “realistic”. Throughout, examples are offered using the records of Brecht’s productions of Mother Courage and The Caucasian Chalk Circle. A final section illustrates how the working model proposed could be applied to an understanding of a character normally associated with the Stanislavskian tradition: Lopakhin in The Cherry Orchard.

中文翻译：

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“现实教学”：布莱希特的哈尔通和唯物主义的超级目标的有利可图的用途

摘要 Haltung（各种翻译为态度、姿态、姿态、姿势或风度）对于布莱希特的方法来说就像超级目标的概念对于斯坦尼斯拉夫斯基的方法一样重要。对于试图利用这两种传统的演员来说，Haltung/Attitude（一种社会学结构，本质上是波动和不一致的）和 Super-Objective（一种心理概念，基本上是恒定和稳定的）之间可能会出现辩证紧张。本文提议将这些明显矛盾的概念整合到演员的统一工作方法中。该论文首先回顾了布莱希特关于 Haltung 的关键理论声明，并描述了这一概念在当代戏剧公司实践中的有趣扩展。布莱希特对人格的看法，进而扩展到对戏剧性格的看法，根据个体差异心理学的当前观点进行审查和测试。该论文继续根据斯坦尼斯拉夫斯基的“内在基调”概念来研究 Haltung 的概念，并认为当前的人格模型以及布莱希特主要演员的排练实践支持将 Haltung 和 Super-Objective 的概念混为一谈，然而得出的结论是，采用必要的 Haltung 会导致演员选择某种类型的超目标和“内在基调”，这里定义为“现实的”。在整个过程中，使用布莱希特的《勇气母亲》和《高加索粉笔圈》的作品记录提供了示例。最后一部分说明了建议的工作模型如何应用于理解通常与斯坦尼斯拉夫斯基传统相关的角色：