论欧阳予倩的话剧导演理论和实践

发布时间：2018-05-20 12:58

本文选题：形神并存 + 传神论　；参考：《戏剧(中央戏剧学院学报)》2015年05期

【摘要】：从20世纪30年代起,欧阳予倩在话剧导演实践中积极探索着建立新现实主义演剧体系。这一体系的根本理念是"形神并存",即在抓住事物主要特征加以渲染从而达到意似或神似,在实践上则体现为:人物形象把握方面抓住主要特征加以凸显;演员表演方面表现力的挖掘;舞台调度方面对衬手法的运用;舞台美术方面的虚实结合等。欧阳予倩对此有着高度的理论自觉,并本着研究和实验的精神对中西方的舞台导演流派进行了全方位的借鉴。尽管欧阳予倩的这一追求最终没能形成完整的体系,但在中国现代话剧舞台艺术发展中有着重要的历史意义。
[Abstract]:Since the 1930's, Ouyang Yuqian has been actively exploring the establishment of a new realistic drama system in the practice of drama directors. The basic idea of this system is "the coexistence of form and spirit", that is, in grasping the main characteristics of things to be rendered to achieve meaning similarity or god resemblance, in practice, it is embodied as follows: grasping the main characteristics of characters to highlight; The performance of actors in the excavation of performance, stage scheduling of the use of lining techniques, stage art in the combination of reality and so on. Ouyang Yuqian has a high degree of theoretical consciousness, and in the spirit of research and experiment, Chinese and Western stage director schools of all-around reference. Although Ouyang Yuqian's pursuit failed to form a complete system, it has important historical significance in the development of Chinese modern drama stage art.
【作者单位】：九江学院;中国社会科学院;
【基金】：国家社科基金后期资助项目“欧阳予倩研究”(项目编号:15FZW016)的阶段性成果
【分类号】：J824

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