ABSTRACT In performance, it naturally occurs to the actor to become aware of her emotions, inner spirit, and physical agility, and Stanislavski established exercises to hone the understanding of these three realms. He found that there is an indissoluble link between internal sensation and physical expression, and he studied this phenomenon as the crux of his research. By the 1910s and 1920s – a culture replete with an interest in spiritualism – Stanislavski began to ground his physical training exercises in modernist theories that examined the spirit within the material body. The main goal of this essay is to analyse innovations in movement training, as I hope that this information offers insights to the field of Stanislavski research by positing that his system initiated an original language of gesture in dramatic art by which actors trained to use the body as their main source of scenic expression.

中文翻译：

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1920 年代俄罗斯前卫的手势理论：斯坦尼斯拉夫斯基哲学中的情感和体现

摘要 在表演中，演员自然会意识到自己的情绪、内在精神和身体敏捷性，斯坦尼斯拉夫斯基建立了练习来磨练对这三个领域的理解。他发现内在感觉和身体表现之间有着密不可分的联系，并将这一现象作为他研究的关键。到了 1910 年代和 1920 年代——一种对唯灵论充满兴趣的文化——斯坦尼斯拉夫斯基开始将他的体育锻炼建立在现代主义理论的基础上，这些理论研究了物质体内的精神。本文的主要目标是分析运动训练的创新，