论中国早期左翼演剧的“梅耶荷德倾向”

发布时间：2018-03-25 16:30

本文选题：梅耶荷德　切入点：左翼文学　出处：《文艺理论与批评》2015年06期

【摘要】：正在中国话剧史上,斯坦尼斯拉夫斯基是一个响亮的名字。自1930年代中后期起为更多人知晓,他在中国声誉日隆,"斯坦尼斯拉夫斯基体系"后来还一度发展成为支配性的存在。两相对比,堪与斯坦尼斯拉夫斯基并称的另一位俄苏舞台艺术家梅耶荷德的形象,则要黯淡许多。不仅译介文字相当零星,[1]追摹的实践似乎也尤其稀少。个中原因当然很多。比如说,斯氏身后留下了解说"体系"的皇皇巨著,中文译本不绝如缕,后学循此,便于登堂入室;而梅耶荷德一生,创作
[Abstract]:Stanislavsky is a resounding name in the history of Chinese drama. It has been known to more people since the middle and late 1930s. His reputation in China is growing, and the Stanislawski system has since developed into a dominant existence. In contrast, the image of another Russian Soviet stage artist, Meyahoe, is comparable to that of Stanislav. Not only did the translation and introduction of the text seem rather sporadic, but the practice of copying [1] also seemed to be particularly rare. Of course, there are many reasons for this. For example, Sze left behind a king's masterpiece to understand the "system". It was easy to go to the house; Meyerod, in his life, wrote
【作者单位】：山东师范大学文学院;
【分类号】：J824

【参考文献】