ABSTRACT

Brecht’s “encounters” with Stanislavsky span the 1935 production of The Mother in New York and the 1953 Stanislavsky Conference in East Berlin, revealing the evolution in his thinking vis-à-vis his Russian counterpart. While the first encounter introduced him to American Method Acting as the epitome of dramatic theatre against which his epic theatre was aimed, it also convinced him that he needed a coherent “system” like Stanislavsky’s to reach a wider audience of theatre practitioners. As a result, Brecht authored during his last years of exile the Short Organon for the Theatre. If Stanislavsky’s name does not appear in it, concepts central to the epic theatre respond to Brecht’s understanding of what he referred to as Aristotelian, culinary, or Naturalist theatre identified with his rival. A similar project, Buying Brass (also known as The Messingkauf Dialogues), occupied Brecht in the years between 1939 and the early 1950’s. The fragmentary texts and conversations were the closest he came to presenting a “system,” here conceived as a theory to be performed on stage as dialogues and including references to techniques employed by Stanislavsky. This essay explores key theoretical issues in the evolution of Brecht’s understanding of Stanislavsky’s approach to the training of actors. The closest he came to experimenting with Stanislavskian “methods” was in his 1953 production of Erwin Strittmatter’s Katzgraben at the Berliner Ensemble. The documentation of rehearsals and discussions shows how Brecht used this as an opportunity to explore the affinities between the mature approaches of these two directors.

摘要

布莱希特与斯坦尼斯拉夫斯基的“相遇”跨越了1935年在纽约制作的《母亲》和1953年在东柏林举行的斯坦尼斯拉夫斯基会议的经历，揭示了他相对于俄罗斯同行的思维方式的演变。第一次见面使他认识到史诗剧院所针对的戏剧性剧院的缩影-《美国方法》，这也使他确信，他需要像斯坦尼斯拉夫斯基那样的连贯“系统”才能吸引更多的剧院从业者。结果，布雷希特在流亡剧院的最后几年里创作了《短剧团》。。如果斯坦尼斯拉夫斯基的名字没有出现，那么史诗剧院的核心概念就可以回应布雷希特对他所指的与他的对手相同的亚里士多德式，烹饪式或自然主义式剧院的理解。一个类似的项目，购买黄铜（也称为The Messingkauf Dialogues）），并于1939年至1950年代初期占领了布雷希特。零碎的文字和对话是他最接近提出“系统”的地方，这里被认为是一种在舞台上作为对话进行表演的理论，其中包括斯坦尼斯拉夫斯基所采用的技术。本文探讨了布雷希特对斯坦尼斯拉夫斯基演员训练方法的理解演变过程中的关键理论问题。他最接近尝试斯坦尼斯拉夫斯基“方法”的是他1953年在柏林合奏团制作的Erwin Strittmatter的Katzgraben。演练和讨论的文档显示了布雷希特是如何以此为契机探索这两位导演成熟方法之间的亲和力的。