ABSTRACT The theatrical Avant-Garde at the beginning of the 20th century in Russian culture produced many practitioners and theories which changed the theatre industry and influenced the development of world theatre for generations. Among them, Stanislavski’s Method of Physical Actions and Active Analysis are widely used, while Evreinov’s unique Monodrama still remains relatively unknown. This paper examines the differences and similarities between Evreinov and Stanislavski and specifically their approach to Scenic (Stage) Realism, the understanding of Theatricality, and instigation of modern theatre and performance practices of the 21st century. Evreinov’s theatrical career was overshadowed by his countryman, Konstantin Stanislavski as a result of social changes in Russia at that time. Evreinov’s hostility towards realism was well known. Evreinov particularly enjoyed criticizing Stanislavski’s detailed direction for Chekhov plays. In New Theatrical Inventions, Evreinov engages in polemics against contemporary theatre practitioners, attacking the naturalism of Stanislavski’s staging. In general, professional theatre for Evreinov was a prison to Theatricality, which in his opinion is the cornerstone of Scenic Art. For Stanislavski, Theatricality was exaggeration when juxtaposed with what should be the realistic truth of the stage. Nikolai Evreinov claimed through his theoretical work that life is full of theatrical conventions; that theatre is a universal symbol of existence, an organic urge to transformation, as basic as hunger or sex. Referring to this urge as Theatricality, or the Instinct of Transformation, Evreinov brought the theatre into life, and insisted that life borrows from theatre.

中文翻译：

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斯坦尼斯拉夫斯基与埃夫雷诺夫：关于舞台现实主义和戏剧性

摘要 20世纪初俄罗斯文化中的前卫戏剧产生了许多实践者和理论，改变了戏剧业，影响了几代世界戏剧的发展。其中，斯坦尼斯拉夫斯基的肢体动作法和主动分析被广泛使用，而埃夫列诺夫独特的独角戏仍然相对鲜为人知。本文探讨了 Evreinov 和 Stanislavski 之间的异同，特别是他们对风景（舞台）现实主义的方法、对戏剧性的理解以及对 21 世纪现代戏剧和表演实践的启发。由于当时俄罗斯的社会变革，他的同胞康斯坦丁·斯坦尼斯拉夫斯基 (Konstantin Stanislavski) 的戏剧生涯黯然失色。Evreinov 对现实主义的敌意是众所周知的。埃夫雷诺夫特别喜欢批评斯坦尼斯拉夫斯基对契诃夫戏剧的详细指导。在新戏剧发明中，埃夫雷诺夫对当代戏剧从业者进行了辩论，攻击斯坦尼斯拉夫斯基舞台上的自然主义。总的来说，Evreinov 的专业戏剧是戏剧性的监狱，在他看来，这是风景艺术的基石。对斯坦尼斯拉夫斯基来说，当与舞台的现实真相并列时，戏剧性是夸张的。Nikolai Evreinov 通过他的理论工作声称生活充满了戏剧传统；剧院是普遍存在的象征，是一种有机的变革冲动，就像饥饿或性一样基本。将这种冲动称为戏剧性或转型的本能，Evreinov 将剧院带入了生活，