ABSTRACT

Konstantin Stanislavsky created his artistic method of psychological symbolism, trying to overcome the legacy of the socio-typological theatre of the nineteenth century, where the actors’ internal resources were aimed at reproducing recognizable social reflexes of consciousness. Alexander Ostrovsky`s theatre consolidated this tradition in Russian theatrical culture, offering a powerful ensemble of dramatic characters and typical situations of Russian life. The theatre production becomes a continuous discovery of the author’s intention by the director, not a simple presentation of social types. The truth of life, the manifestation of essence as an identity in all changes of action, the fullness of experience, and the persuasiveness of the presentation are the leading motives in the perception of the artistic system of Stanislavsky by Russian directors of the Soviet era such as Oleg Efremov and Georgi Tovstonogov. These directors saw the merits of Stanislavsky’s artistic method, but also recognized the need for innovations as they contemplated an artistic trajectory of the Moscow Art Theatre. However, an essential revision of the psychological symbolism of Stanislavsky, for whom the possibility of the creation was based on a simple reflection of the most intense effects of impulsive expressions of our internal nature, took place in the late Soviet and post-Soviet time in the phenomenological theatre of Piotr Fomenko, Anatoli Vasiliev and Аndrei Zholdak, in which every symbolizing consciousness became a natural attitude – an approach different from the one that focused on capturing the essence of reality of human life.

摘要

康斯坦丁·斯坦尼斯拉夫斯基（Konstantin Stanislavsky）创造了他的心理象征主义艺术方法，力图克服19世纪社会型戏剧剧团的遗产，在那里演员的内部资源旨在再现可识别的社会意识反射。亚历山大·奥斯特洛夫斯基（Alexander Ostrovsky）的剧院在俄罗斯戏剧文化中巩固了这一传统，为戏剧人物和典型的俄罗斯生活提供了强有力的合奏。戏剧制作成为导演不断发现作者意图的过程，而不是简单介绍社会类型。生活的真相，本质在各种行动变化中的身份体现，经验的充实，演讲的说服力和说服力是苏联时期的俄罗斯导演如奥列格·埃夫雷莫夫和格奥尔基·托夫斯顿诺夫奇对斯坦尼斯拉夫斯基艺术体系的感知的主要动机。这些导演看到了斯坦尼斯拉夫斯基的艺术方法的优点，但也意识到了创新的必要性，因为他们考虑了莫斯科艺术剧院的艺术轨迹。然而，斯坦尼斯拉夫斯基的心理象征主义进行了一次重要的修改，在此之后的苏联和后苏联时期，对斯坦尼斯拉夫斯基的心理象征主义进行了修改，其可能性是基于对我们内在冲动性表达的最强烈影响的简单反映。皮奥特·福缅科（Piotr Fomenko），阿纳托利·瓦西里耶夫（Anatoli Vasiliev）和安德烈·扎尔达克（АndreiZholdak）的现象学剧院，