ABSTRACT ”Perspective“ is a notion present in Stanislavski’s “system” but not as commonly used in acting practice as “given circumstances” or “objectives”. It deals with the future and with the verbal action. Its use for actors was renewed by the Russian director Anatoly Vasiliev in his work on conceptual texts using the term “reverse perspective”, which has a rich background in art theory, especially as articulated by Pavel Florensky. “Perspective” itself is a notion that has been considered by many art historians, including Erwin Panofsky. After a workshop led at the Stanislavski symposium in Malta in April 2019, this paper shows concretely how to work with “perspective” on Chekhovian texts, particularly on the monologues of Three sisters. It unveils the meaning of this artistic concept for acting, the sense it has specifically for Stanislavski and Vasiliev and how it transforms the preparation of the actor in approaching a monologue from its end through active visualization.

中文翻译：

---

演艺实践观

摘要 “视角”是斯坦尼斯拉夫斯基“系统”中的一个概念，但在表演实践中不像“给定的情况”或“目标”那样常用。它涉及未来和口头行动。俄罗斯导演阿纳托利·瓦西里耶夫（Anatoly Vasiliev）在他关于概念文本的作品中使用了“反向透视”一词，这在艺术理论方面具有丰富的背景，尤其是帕维尔·弗洛伦斯基（Pavel Florensky）所阐明的。“透视”本身是许多艺术史学家都考虑过的概念，包括欧文·帕诺夫斯基。在 2019 年 4 月在马耳他斯坦尼斯拉夫斯基研讨会上举办的研讨会之后，本文具体展示了如何对契诃夫文本，特别是三姐妹的独白进行“透视”。它揭示了这种表演艺术理念的意义，