ABSTRACT Visual anthropology has opened up new avenues for the analysis of early Soviet cinema (1918–1930s), and Marcel Mauss’s theory of ‘body techniques’ serves to highlight methods for the professional actor’s body work and body techniques in cinema, revealing the performative functions of art and life. The philosophy of the new Soviet body is analysed through examples of the professor and mechanic in Congestion (1918); of the child in Wake Up Lenochka (1934); of the old man in The Baltic Deputy (1936); and of the worker in Counterplan (1932). These images lean on archetypal models of corporeal displays and lay the foundation for the perception of a new God-Man (theanthropos). A key aspect in the manipulation of the collective unconscious is the creation of a screen image by actors and non-actors. There is a collision of the psychological way of creating a role in terms of Stanislavsky’s school and techniques of extra-ordinary behaviour, which are often shown in the scores of movement of non-actors, while the subtlety of psychological nuances emerges in professional acting. Artificially created, played roles appear more convincing and more life-like than the authentic life of a human body recorded on film.

中文翻译：

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“身体技巧”作为早期苏联电影中电影语言形成的表现手段

摘要 视觉人类学为分析早期苏联电影（1918-1930 年代）开辟了新的途径，马塞尔·莫斯的“身体技巧”理论有助于突出电影中专业演员的身体工作和身体技巧的方法，揭示表演功能艺术与生活。新苏联机构的哲学通过《拥塞》（1918 年）中的教授和机械师的例子进行分析；唤醒莱诺奇卡 (1934) 中的孩子；波罗的海代理（1936）中的老人；以及 Counterplan (1932) 中的工人。这些图像依赖于肉体展示的原型模型，并为感知新的神人（theanthropos）奠定了基础。操纵集体无意识的一个关键方面是演员和非演员对银幕形象的创造。斯坦尼斯拉夫斯基学派和超常行为技巧的心理塑造方式发生了碰撞，这往往表现在非演员的动作得分中，而心理细微差别则出现在专业表演中。与电影中记录的人体真实生活相比，人工创造、扮演的角色看起来更令人信服、更逼真。