摘要
焦菊隐创立了具有鲜明民族特色的北京人艺演剧学派,其形成经历了一个漫长的过程。这一学派继承并发展了丹钦科、斯坦尼斯拉夫斯基的演剧体系,为现实主义的演剧理论输入了新的血液;揭示了话剧民族化的规律,为话剧民族化开辟了广阔的道路;把话剧艺术恢复和提升到诗的本位和高度。焦菊隐—北京人艺演剧学派的理论体系对中国话剧“现代化”的发展显示出它越来越重要的意义。
Jiao Juyin initiates the School of Performance at Beijing Theater of Peopleg Art. This school carries Danchenko＇s and Stannisilafusiji＇s tradition and infuses realistic theory of performance with new blood. It helps to reveal the law for nationalizing modem drama so as to open up wide avenue for indigenous dramas and make the modem drama what it should be. Thus, the modernization of Chinese drama will more and more feel the weight of Jiao Juyin and the School of Performance at Beijing Theater of Peopleg Art.
出处
《南京大学学报（哲学．人文科学．社会科学）》
CSSCI
北大核心
2005年第5期50-60,共11页
Journal of Nanjing University(Philosophy,Humanities and Social Sciences)
关键词
焦菊隐
北京人艺演剧学派
话剧
Jiao Juyin
School of Performance at Beijing Theater of Peopleg Art
modern drama
