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莫斯科艺术剧院1912年正式公演《哈姆莱特》,这是近代演出史中最受到重视也最引起争论的演出之一。一位注重心理因素的现实主义大师斯坦尼斯拉夫斯基,和一位重视外部表现形式的象征主义者戈登·克雷如何可能揉合到一起去了呢?这篇文章对这次演出的起因、过程和结果进行了阐述和分析,提供了许多第一手资料,有助于我们对这次演出加深理解。本文从德尼·巴勃莱所著《爱德华·戈登·克雷》一书的英译本(美国“戏剧艺术丛书”,达夫尼·伍德沃特英译)译出。原文较长,译文曾作适当删节。
Moscow Art Theater Officially performed “Hamlet” in 1912, one of the most controversial and recent controversies in the history of modern performance. How can a mere stoicist realist, Stanislavski, and Gordon Clay, a symbolic externalist, be brought together? , Process and results were elaborated and analyzed, providing a lot of first-hand information, help us to deepen understanding of the show. This article was translated from an English translation of Edward Gordon Clay, written by Denny Pablo (American Series on Theater Art, English translation of Daphne Woodward). The original is longer and the translation has been appropriately abridged.