These three systems, from the perspective of stage art practice, represent three different performance methods; From the perspective of drama theory, it represents three different drama views and drama aesthetics; Judging from the style of drama art, it is three different schools of drama art; From the perspective of drama history, they represent the cultural forms of different nationalities and different times.
Stanislavsky system:
Stanislavski (1863 ~ 1938) is a famous actor, director, drama educator, theorist and stage art reformer in the former Soviet Union. He was born in Moscow, his father is a manufacturer and factory owner, and he is closely related to cultural activists. 14 years old stepped onto the stage. 1896 Co-founded Moscow Art Theatre with Nie Mirovic-Danchenko. He has directed and served as artistic director of more than 120 plays and plays many important roles in his life. The drama system he founded inherited and developed the artistic achievements of Russia and Europe, and he wrote books such as My Artistic Life and Self-cultivation of Actors. 1936 was awarded the title of Soviet People's Artist. 1948, the department museum was established in his former residence.
Stanislavsky system is a systematic and scientific exposition of the law of performance. The essence of Smith system lies in the embodiment of human nature;
Actors should not exist on the stage, but actually exist on the stage, not performing, but living. Actors are always living people on the stage, abide by the logic and organic laws of life, and sincerely feel, think and act in specified situations.
In a large number of artistic activities in his life, he had a far-reaching influence on the Soviet drama school. It promoted the development of various drama schools in the Soviet Union. The most important achievement is the establishment of stanislavski's drama system. It is a drama system including performance, directing, drama teaching and methods. It is a summary of Shi's life-long creative and teaching experience, as well as his experience as a pioneer in the field of drama art and an outstanding master in the contemporary world. The systematic drama aesthetic thought, which truly reflects life and emphasizes the social mission and educational function of drama, inherits the aesthetic view of simple materialism of Russian revolutionary Democrats in the19th century. It appeared in the 20th century when the Russian proletarian revolutionary movement was rising day by day, which not only reflected the profound ideological content and real life requirements put forward by the social progressive class, but also reflected the national characteristics of Russian art and its eager pursuit of realism and democracy. The bold innovation of the director system has perfected the Russian art school of directors, and made directors develop into ideological interpreters, organizers and collective educators of the whole performance. In the cooperation with actors, the system emphasizes the actor's primary position on the stage, gives play to the actor's creative initiative, and reflects the director's style through the overall performance. Emphasis is placed on the unity of content and form, the harmony between various parts of the performance and the artistic integrity of the performance. Stanislavski called it "Experiencing School" about the principles of actor creation and training methods. What is required is not to imitate the image, but to "become an image" and live in the image, and to have a real experience in the process of creation. Therefore, stanislavski's system had a great influence on the world drama culture in the 20th century.
Stanislavski's system won high praise from dramatists such as China Mei Lanfang and had a far-reaching influence on China's drama. Stanislavski's works were introduced to China in 1930s, and stanislavski's major works and even complete works were published one after another.
Brecht system:
Brecht (1898—1956) is a German playwright, drama theorist, director and poet. Born in Bavaria. My father is the manager of a paper mill. 19 17 entered Munich university to study literature and medicine. 19 18 wrote the first short play "Barr" and attacked the hypocrisy of bourgeois morality. 1920 completed the play "Drumming at midnight". 1922 wrote about the urban jungle. 1922 was hired as a drama consultant and director by Munich Small Theatre. 1924 at the invitation of the famous director Reinhardt, he went to Berlin as a drama consultant of the German theater and wrote the script "Man is Man".
Brecht founded a new type of drama-epic drama, whose core ideas are "defamiliarization effect" and "alienation method". In the dialectical relationship among actors, roles and audiences, it is advocated that actors are above the roles and control the roles, which shows that the characters in the play, rather than actors, blend in with the roles, enter the roles at any time, jump out of the roles at any time, face the audience, and walk freely. The actor keeps a distance from the role, forming a "double image", that is, the actor is the actor himself and the characters in the play, and the actor expresses the characters in the play with superb acting skills.
1926, Brecht began to study Marxism-Leninism and formed his own artistic views. He initially put forward the theory and practice of epic (narrative) drama in 193 1 and adapted Gorky's novel Mother into a stage play. 1933, he started 15 years of exile. 1948 10 returned to Berlin (East) to settle down. 1949 together with Hannah, he founded and led the Berlin Theatre Company and directed it himself. 1956 died of a heart attack in August. His major plays include: Round-headed Party and Sharp-headed Party, Terror and Disaster of the Third Reich, Guns of caral and menstruation, Biography of Galileo, Bold Mother and Her Children, Sichuan Good Man, Master Pantilla and his footman Tracy McGrady, Shuaike in World War II, Grey Lange in Caucasus, etc. He also expounded the theoretical principles and performance methods of epic drama in the form of speeches, papers and script notes, among which the more important ones are Separation of China's Drama Performing Arts, On Experimental Drama, Buying Brass Tube and New Skills of Performing Arts. The plays after 1948 include Days of the Commune and Du Lang Duet, and the theoretical works include Dramatic Gadgets, Addendum to Dramatic Gadgets, and Director Analysis of Bold Mother and Her Children. Brecht was the vice president of the German Academy of Democratic Sciences, and won the National Award 195 1 and Lenin Peace Prize 1955. He called for the establishment of a new type of drama, namely epic drama, which is suitable for reflecting the characteristics of human life in the 20th century. This kind of drama uses dialectical materialism and historical materialism to understand and reflect life. Breaking through the "three unifications" scriptwriting mode, adopting the freely stretched drama structure form, showing the broad and colorful content of life in many aspects, allowing readers to see the real face of life and its complexity and contradiction through numerous character scenes, prompting people to think and inspiring people's enthusiasm for changing society. Brecht divided drama into two types: one is a drama created according to the standard defined by Aristotle in Poetics, which he called dramatic drama or Aristotle-style drama; One kind is the drama created in violation of Aristotle's standards, which he calls epic drama or non-Aristotle drama.
Brecht's performance method advocates "alienation method", also known as "defamiliarization method", which is a new aesthetic concept and a new performance theory and method. Its basic meaning is to make ordinary things extraordinary by artistic methods, reveal the causal relationship of things, expose the contradictory nature of things, and make people realize the possibility of changing reality. But as far as the performance method is concerned, the "separation method" requires the actor to keep a certain distance from the role, rather than integrating the two. The actor should be higher than the role, control the role and perform the role.
Brecht's drama is an important school of German drama in the 20th century, which has great influence on the world drama. In the process of its formation, this school not only inherited and innovated the European and German realistic traditions, but also borrowed from the eastern culture, especially the Japanese classical drama and China opera. He spoke highly of China's opera art, held a positive attitude towards Stanislavsky's system, and repeatedly talked about his contribution to the realistic performing arts.
Mei Lanfang system:
Mei Lanfang (1894- 196 1 year), originally from Taizhou, Jiangsu, grew up in Beijing. His grandfather Mei Qiaoling and his father Mei Mingrui are both Peking Opera actors, and his uncle Mei Yutian is a Peking Opera pianist. He studied drama at the age of 8 and took the stage at the age of1/kloc-0. Before the Revolution of 1911, it had become one of the famous stars. After the Revolution of 1911, he was determined to reform Peking Opera, learn from others, study hard and practice hard, and finally became a master of Peking Opera.
It is believed that China opera is the unity of alienation and singing, the combination of stylized experience and performance, and a highly comprehensive stage art of singing and dancing.
19 19 Mei Lanfang led a delegation to visit Japan and gained a high reputation. 1929 He went to the United States again successfully and obtained his doctorate. During his visit to the Soviet Union from 65438 to 0935, he got to know stanislavski and Dan Qin Ke, so that they could directly see the performing arts of China traditional operas. Brecht also watched the performance in Moscow at that time, and wrote an important drama paper the following year (1936): On China's Drama and Alienation Effect.
Mei Lanfang is a master of performing arts, a charming drama activist and social activist, who has a high moral character all his life and has both morality and art. There are "Selected Plays of Mei Lanfang" and autobiographical works "Forty Years of Stage Life".
Modern dramatists in China, such as Huang and Huang, rank Mei Lanfang, stanislavski and Brecht as "three major drama systems", mainly based on the artistic features of his plays, rather than his theoretical works. The basic style characteristics of Mei Lanfang's performing arts are the concentrated expression of a large number of opera performing artists, and also the style characteristics of China opera performing arts.
The main features of this style or China opera performance system are:
First, the expression method of freehand brushwork. The method of freehand brushwork is essentially a virtual method. Freehand brushwork is an important proposition in China's ancient art and aesthetic thought. Its embodiment in traditional Chinese opera art is mainly to break through the limitation of time and space, and create a stage art world far from real life but full of artistic conception with virtual actions and virtual scenes.
Second, the stylized expression method. China traditional opera shows the experienced characters again through stylized expression. Its embodiment is not an imitation of drama art, but a symbolic expression.
Third, take the actor as the center. Although China traditional opera is a comprehensive art, it should be integrated with actors as the center. On the one hand, in the art of traditional Chinese opera, "the play follows the people and the scene follows the people", and the status of the actors is very important; On the other hand, stylized and freehand brushwork traditional Chinese opera performance art has outstanding formal beauty and strong appreciation. Music singing is very important to the audience and has relative artistic independence. Therefore, the art of traditional Chinese opera is a comprehensive art centered on actors.