ABSTRACT

This paper explores the fields of actor training and music education in order to illuminate the historical and pedagogical connections between the work of Konstantin Stanislavski and Emile Jaques-Dalcroze. It identifies historical parallels between their artistic practices, including their dedication to rhythm and polyrhythm. It illustrates the ways in which their pedagogical paths crossed. It analyses the artistic lineage that can be drawn from the work of Jaques-Dalcroze at the Hellerau Institute to the work of Stanislavski at the Moscow Art Theatre. This includes the influence of Dalcroze Eurhythmics on the development of Tempo-Rhythm. The paper considers how aspects of Stanislavskian actor training are reflected in aspects of Dalcrozian music education, including ensemble work, intention and emotion, and the evolution of psychophysical performance. It proposes that there is a correlation between the creative process undertaken by an actor on a play text, known as Active Analysis, and the creative process undertaken by a musician on a compositional score, known as Plastique Animée. Comparing the pedagogical principles of Stanislavski and Jaques-Dalcroze from the author’s own perspective as an actor trainer and music educator reveals areas for further research. This paper presents themes that are transferable to artists and educators engaged in continuing professional development.

摘要

本文探讨了演员培训和音乐教育领域，以阐明康斯坦丁·斯坦尼斯拉夫斯基 (Konstantin Stanislavski) 和埃米尔·雅克-达尔克罗兹 (Emile Jaques-Dalcroze) 作品之间的历史和教学联系。它确定了他们艺术实践之间的历史相似之处，包括他们对节奏和多节奏的奉献。它说明了他们的教学路径交叉的方式。它分析了从 Hellerau 学院的 Jaques-Dalcroze 的作品到莫斯科艺术剧院的 Stanislavski 的作品的艺术谱系。这包括 Dalcroze Eurhythmics 对节奏节奏发展的影响。该论文考虑了斯坦尼斯拉夫斯基演员培训的各个方面如何反映在达尔克罗齐音乐教育的各个方面，包括合奏工作、意图和情感，以及心理物理表现的演变。它提出，演员在剧本上进行的创作过程（称为主动分析）与音乐家在作曲乐谱上进行的创作过程之间存在相关性，称为塑料动画。从作者作为演员培训师和音乐教育者的角度比较 Stanislavski 和 Jaques-Dalcroze 的教学原则，揭示了需要进一步研究的领域。本文提出的主题可以转移到从事持续专业发展的艺术家和教育工作者身上。