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焦菊隐先生的《心象说》是以民族艺术的美学观为指导,以话剧舞台实践为基础,广泛吸收国外的体验派与表现派的科学理论而建立起来的一整套演员创造人物的方法。在50年代初,该《学说》就在《龙须沟》一剧中运用,获得巨大成功,对于中国话剧表演艺术,作出了卓越的贡献。《心象说》的理论内容十分丰富,它是从演员体验人物生活开始,经历在内心形成人物心象的过程,
Jiao Ju-yi’s “Heart Iconography” is a set of methods of creating characters based on the aesthetics concept of national art and based on the practice of the drama stage, which extensively absorbs the scientific theories of experiential and expressive foreign countries. In the early 1950s, the “theory” was used in the “Longsugou” drama and achieved great success. It made outstanding contributions to the performing arts of Chinese drama. The theory of “Heart Iconography” is very rich in content. It starts from the experience of the performers of the characters and experiences the formation of the heart image of the characters in the heart.