摘要
由焦菊隐先生所创立的"心象说"是对中国话剧乃至世界演剧理论宝库的一大贡献。本文将分为三个部分进行论述。第一部分主要谈到焦菊隐先生分四个阶段在艺术创作实践中提出并完善了"心象说";第二部分主要从"心象说"与"视象说"、"模范说"和"理想的范本"的异同谈起,论述出"心象说"的内涵;第三部分着重论述了如何将"心象说"运用到艺术实践创作中。总之,"心象说"的提出,科学地解决了演员与角色矛盾的重大难题,在实践中发挥了演员大胆创作鲜明的有个性特色的舞台形象的能力。
The theory of ＂inner image＂ which is originated by Jiao Yu - yin makes a valuable contribution towards the Chinese modern drama and even the world of drama. The elaboration of this paper consists of three parts. The first part mainly shows that Jiao Ju - yin put forth and perfected the theory of ＂inner image＂ during four stages of the practice of artistic creation. The second part mainly discusses the connotation of the theory of ＂inner image＂ based on the similarities and differences among ＂inner image＂ , ＂visual image＂ , ＂model＂ and ＂ideal model＂. The third part focuses on how to apply the theory of ＂inner im- age＂ to the practice of artistic creation. In brief, the major problem of contradiction between the performer and role has been solved scientifically by using the theory of ＂inner image＂ and then the capabilities of performers of making the bold creation on the distinctive and characteristic stage image have been improved in the performing practice.
出处
《内蒙古大学艺术学院学报》
2013年第3期46-51,共6页
Journal of Art College of Inner Mongolia University
关键词
焦菊隐
心象说
民族化
模仿
内心视象
Jiao Ju -yin
the Theory of ＂inner image＂
Nationalization
Imitation, Inner image
