斯坦尼斯拉夫斯基失败的成长小说

IF 0.3 3区 艺术学 0 THEATER
Tomasz Kubikowski
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引用次数: 0

摘要

康斯坦丁·斯坦尼斯拉夫斯基在生命的最后九年里一直处于残疾状态,他努力用语言表达自己的艺术经历并将其记录下来。这种体验主要涉及表演,其本身极难概念化和解释,在他看来,这是人类存在的核心。斯坦尼斯拉夫斯基寻找合适的文学载体来容纳这种丰富。起初,他希望自己能在教育小说《成长小说》中找到合适的方法。然而,在他的写作过程中,他逐渐放弃了这种形式,以及他可能拥有的任何文学抱负。我们在《演员的作品》中所能找到的只是最初概念的残余。尽管如此,他们仍然在场。仔细观察这些废墟,可以对斯坦尼斯拉夫斯基的艺术理论的氛围和情绪带来有趣的见解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Stanislavsky’s Failed Bildungsroman
Disabled for the last nine years of his life, Konstantin Stanislavsky struggled to verbalize his artistic experience and record it in writing. This experience mostly concerned acting, itself extremely hard to conceptualize and explain, and, to his mind, the core of human existence. Stanislavsky looked for the proper literary vehicle to contain this abundance. Initially, he hoped he had found adequate means in the form of the educational novel – the Bildungsroman. However, in the course of his writing, he gradually abandoned this form, as well as any literary aspirations he may have had. What we can find in An Actor’s Work are only remnants of the original concept. Nevertheless, they are still present. Looking closer at these ruins can bring interesting insights into the aura and mood of Stanislavsky’s theorizing about art.
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
45
期刊介绍: New Theatre Quarterly provides a vital international forum where theatrical scholarship and practice can meet and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theatre history has a contemporary relevance, that theatre studies need a methodology and that theatre criticism needs a language. The journal publishes news, analysis and debate within the field of theatre studies.
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