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發表於 2013-1-4 14:42:55
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康斯坦丁．斯坦尼斯拉夫斯基（Константин Сергеевич Станиславский，1863年1月5日－1938年8月7日），原名阿列克塞耶夫，是俄國著名戲劇和表演理論家。代表作有《演員的自我修養》（«Работа актера над собой»）。
誰都知控制情緒是成功一大要訣，可是一般人都覺得不易做到。反之，出色的演員卻好像永遠能自如控制情緒，要傷心會哭出眼淚，要快樂可要笑得很燦爛。到底演員是怎樣控制自己的喜怒哀樂的呢？俄國著名戲劇大師斯坦尼斯拉夫斯基就曾問過這個問題：
The legendary Konstantin Stanislavski, "the father of method acting," asked precisely this question [of how actors summon emotions] in 1918. During the next 20 years, until his death in 1938, he perfected a systemic method for accessing emotions. In 1962, R. V. Simorrov, a prominent physiologist and member of the Academy of Science of the USSR, published a summary of his work and aptly titled it The Method of K.S. Stanislawski and The Physiology of Emotions. Referred to as the great teacher of "affective memory," Stanislavski worked toward an ultimate goal of giving an actor control over the phenomenon of inspiration." He realized that, to be effective, actors could not simply pretend to feel various emotions. They had to intentionally "turn on" the underlying physiological mechanisms. Stanislavski's entire method was directed toward harnessing voluntary control of these mechanisms.
What surprises readers of Stanislavski's works is his understanding of' physiology. Remember, he was formualting most of his ideas in the early 1900s! Stanislavski's thinking was heavily influenced by Ivan Pavlov (1849-1936), the most brilliant physiologist of the era. Even modern-day scientists are astounded by Stanislavski's insights and discoveries.
For Stanislavski, the most important understanding an actor can achieve is that the emotion must be true, not fake; given the way the human brain is wired, emotions cannot be stirred directly. For him, the actor's senses, imagination, intuition, and, particularly, muscles must all participate to produce true emotion. A concrete thought or image and a bodily expression combine to form the core of his system. When an actor fully focuses, so that imagination and physical body completely merge with the role, true emotion follows. The more experience Stanislavski had over the years with actors, the more importance he placed on physical actions to stimulate emotional memory. He came to believe that somehow emotions are stored in the muscles of the body. Eventually, he argued that there are as many varied nuances of emotions as there are different physical actions. [1, pp.103-104]
那麼，到底要怎樣才能隨時隨地「召喚」出想求的情緒呢？根據斯坦尼斯拉夫斯基，召喚情緒有兩大步驟。比如說，如果我想「傷心」的話：
The first step, invariably, is to begin focusing on some very sad real-life event that either has happened or potentially could happen. The key is to have a thought or image available that is powerfully loaded with the emotion that is to be summoned (sadness), and then to focus on it like a laser beam. [...] We've had subjects report that, to trigger the targeted emotion, they used images of events that occurred as far back as 50 years. Others ventured several years forward in time to jump-start the physiology. Choosing from anything that did happen (past) to anything that could happen (future) gives quite a range of images to work with. [...] Controlling the physiology of emotion requires precision thinking and imaging.
[...] The second thing the "sadness experts" would do is immediately take on the physical look they would have if they actually felt deep sadness and were, in fact, crying. The more the body. particularly the face, conforms to the way they look when tears of sadness are flowing freely, the greater the chance of [summoning sadness ...] Controlling the physiology of emotion also requires precision acting with the physical body.
資料來源 : 召喚快樂
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在線雷達
發表於 2013-1-4 14:42:54
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油顏色
發表於 2013-1-4 15:20:27
點睇胡杏兒都係一個囧樣~
