ABSTRACT

Stanislavsky distrusted cinema as a distraction for the actor and a poor substitute for the communion between audience and stage. His only intensive engagement with film came in 1923 when a Hollywood studio persuaded him to prepare a scenario about 16^th-century Muscovy; but it and other proposed experiments remained unrealized. Nevertheless, the aesthetics and ethos of the Moscow Art Theatre permeated Russian cinema from its beginnings; many of its leading directors, designers and performers had worked there. The film maker Moisey Aleynikov imbibed from it the notions of the collaborative director, the importance of ensemble and the importance of supplementing the script. The director Vsevolod Pudovkin paid lip service to the Stanislavsky system of acting but with a Stalinist gloss. In Hollywood, many Art Theatre veterans found employment and taught classes, though their most abiding influence was through their own performances.

摘要

斯坦尼斯拉夫斯基不信任电影，因为它分散了演员的注意力，无法替代观众和舞台之间的交流。他唯一的与电影的紧密接触发生在1923年，当时好莱坞一家制片厂说服他准备了^第16^个场景世纪俄国 但是它和其他建议的实验仍未实现。然而，莫斯科艺术剧院的美学和风气从一开始就渗透到俄罗斯电影中。它的许多主要导演，设计师和表演者都曾在此工作过。电影制片人Moisey Aleynikov从中汲取了合作导演的概念，合奏的重要性和补充剧本的重要性。导演Vsevolod Pudovkin为斯坦尼斯拉夫斯基的演艺体制付出了口头服务，但带有斯大林主义色彩。在好莱坞，许多艺术剧院的老兵找到了工作并上课，尽管他们最持久的影响是通过自己的表演。