ABSTRACT Stanislavski’s Eastern influence and his persistent fascination with Yoga is an established area of research. Stanislavski has two major yogic influences in the System: Hatha Yoga and Raja Yoga. The first is about training the body through postures, movements, stances, and breathing exercises to make it active, relaxed, and energetic. The second includes a range of exclusive practices on concentration and visualization that are an integral part of the actor’s creativity. However, in the current research, there is a clear lack of a comprehensive practical method that informs Stanislavski’s use of yogic practice in the System: what specific yogic exercises were used and what synergies were developed in the training? Scholars have, so far, only explored Stanislavski’s literary legacy of his encounter with yoga, identifying the Sanskrit terms appeared in his writings such as prana for breathing and the Indian anecdotes he used when answering the questions of his students. Focusing on the metaphor of the circle, the phenomenology of roundness and the Deleuzian notions of “the invisible forces of sensations” and “the body becomes an event itself,” the present study, for the first time, offers useful insights into the fundamental principles of yoga and their methods of practice as a way of developing a new training to understand the significance of Stanislavski in the twenty-first century.

中文翻译：

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圆的隐喻：斯坦尼斯拉夫斯基，圆的现象学和高级瑜伽

摘要 Stanislavski 的东方影响力和他对瑜伽的持久迷恋是一个既定的研究领域。斯坦尼斯拉夫斯基在系统中有两个主要的瑜伽影响：哈他瑜伽和拉贾瑜伽。第一个是通过姿势、动作、站姿和呼吸练习来训练身体，使其活跃、放松和充满活力。第二个包括一系列关于注意力和可视化的独家实践，这是演员创造力的一个组成部分。然而，在目前的研究中，明显缺乏一个全面的实践方法来告知斯坦尼斯拉夫斯基在系统中使用瑜伽练习：使用了哪些特定的瑜伽练习以及在培训中开发了哪些协同作用？到目前为止，学者们只探索了斯坦尼斯拉夫斯基与瑜伽相遇的文学遗产，识别梵文术语出现在他的着作中，例如呼吸的 prana 和他在回答学生问题时使用的印度轶事。本研究着眼于圆的隐喻、圆的现象学以及德勒兹的“感觉的无形力量”和“身体成为事件本身”的概念，首次提供了对基本原理的有用见解。瑜伽及其练习方法，作为一种开发新训练的方式，以了解斯坦尼斯拉夫斯基在 21 世纪的重要性。