ABSTRACT

Stanislavski’s attitude to the cinematic art in general and acting in particular changed throughout his life. On the one hand, Stanislavski’s initial negative position on filming actors from the MAT for the first silent films is well-known, but on the other, numerous colleagues who worked at the interface of theatre and cinema confirmed Stanislavski’s attention to the actor’s play within the then emerging movie art, and the adoption of professional and ethical standards in both. One of the co-founders of the Russian film company Rus’, Moisei Aleynikov, highlighted in his memoirs Stanislavski’s profound conviction that “cinematography carri[ed] in it some new laws of performing art” and that in order to research cinematographic art and the professional and ethical development of film actors one had to carry out “hard, systematic experimental work”, comparable with what Stanislavski conducted in the theatre. Because of his time-consuming involvement in theatre, Stanislavski postponed and then delegated the exploration of filmmaking to Leopold Sulerzhitski, months before his sudden death froze the research again. Notwithstanding the absence of such research, from 1915 Stanislavski regularly involved his best actors and directors in filmmaking. Subsequently, early silent films starring theatre actors were assessed by Stanislavski, directly or indirectly. The results of his assessment can be found in the works of the first Russian creators of feature films. Focusing on the works of the four filmmakers included in its title, this paper aims to explore the development of Stanislavski’s attitude to the professional and ethical education of the film actor.

摘要

斯坦尼斯拉夫斯基对电影艺术尤其是表演艺术的态度在他的一生中都发生了变化。一方面，斯坦尼斯拉夫斯基最初在MAT中为演员拍摄无声电影最初的负面立场是众所周知的，但另一方面，在剧院和电影界工作的众多同事证实了斯坦尼斯拉夫斯基对演员的表演的关注在当时兴起的电影艺术中，以及在两者中都采用专业和道德标准。俄罗斯电影公司Rus's的联合创始人之一Moisei Aleynikov在回忆录中着重强调了斯坦尼斯拉夫斯基的坚定信念：“电影摄影法体现了表演艺术的一些新法则”，并且是为了研究电影摄影艺术和电影摄影艺术。电影演员的专业和道德发展，必须进行与斯坦尼斯拉夫斯基在剧院进行的“艰苦而系统的实验工作”。由于他费时费力地参与戏剧工作，斯坦尼斯拉夫斯基（Stanislavski）推迟了对电影制作的探索，然后将其委托给利奥波德·苏勒日斯基（Leopold Sulerzhitski），几个月之后，他突然去世再次冻结了这项研究。尽管没有这样的研究，从1915年开始，斯坦尼斯拉夫斯基（Stanislavski）定期让他的最佳演员和导演参与电影制作。随后，斯坦尼斯拉夫斯基直接或间接地评估了由剧院演员主演的早期无声电影。他的评估结果可以在第一批俄罗斯故事片创作者的作品中找到。本文着眼于标题中包括的四位电影制片人的作品，旨在探讨斯坦尼斯拉夫斯基对电影演员的职业和道德教育态度的发展。