摘要
在里·图米纳斯的导演作品中,契诃夫剧作的排演具有独特意义。图米纳斯在GITIS导演系学习时最感兴趣的便是如何排演契诃夫作品。同时作为立陶宛和俄罗斯两种戏剧流派的继承者,图米纳斯以全新视角看待契诃夫的遗产,找到了其舞台阐释的独特道路。在图米纳斯的导演艺术中,剧作家文本的思想主旨揭示与悖于舞台说明的舞台形式探索得到完美结合。借助舞台空间、场面调度和精妙入微的演员表演,图米纳斯的排演实现了戏剧情境的创作自由,并揭示了契诃夫作品与现代艺术理念之间的关联。这种导演方法可以借维·什克洛夫斯基的“陌生化”概念加以理解。本文以图米纳斯排演的《樱桃园》(1990,维尔纽斯小剧院)、《三姐妹》(2005,维尔纽斯小剧院)、《万尼亚舅舅》(2009,瓦赫坦戈夫剧院)三部作品作具体分析。
Among the plays staged by director R.Tuminas,the staging of Chekhov's plays is of particular importance.Tuminas was most interested in how to stage Chekhov when he was studying at the directing department of GITIS.As an inheritor of both Lithuanian and Russian theatrical traditions,Tuminas approached Chekhov's legacy with a fresh perspective,fnding a unique path for its stage interpretation.Tuminas's directing combines the desire to reveal the playwright's intentions and to create a stage form that does not coincide with the playwright's remarks.The stage space,mise-en-scène and nuanced actor performance in Tuminas's productions achieve creative freedom in dramatic situations and reveal the connection between Chekhov's works and modern artistic concepts.Tuminas's directorial approach to Chekhov can be described through the concept of“defamiliarization”proposed by V.Shklovsky.The article analyses three works by R.Tuminas:The Cherry Orchard(1990,Vilnius Maly Theater),Three Sisters(2005,Vilnius Maly Theater)and Uncle Vanya(2009,Evgeny Vakhtangov Theater).
出处
《戏剧(中央戏剧学院学报)》
CSSCI
北大核心
2024年第6期108-113,共6页
Drama:The Journal of the Central Academy of Drama
基金
国家社科基金艺术学项目“契诃夫戏剧与中国话剧现代性追求”(项目编号:21BB030)的阶段性成果
2024年中央戏剧学院学术会议“契诃夫,我们的同时代人—纪念契诃夫逝世120周年中俄学术研讨会”成果。
