Using Intermodal Psychodrama to Personalize Drama Students’ Experience: Two Case Illustrations
Using Intermodal Psychodrama to Personalize Drama Students’ Experience: Two Case Illustrations
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使用多式联运心理剧个性化戏剧学生的体验：两个案例说明
DOI：
10.5406/jaesteduc.45.2.0070
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
Hod Orkibi
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作者：
Hod Orkibi
j·l·莫雷诺（1889-1974）是心理戏剧的创始人，他反对正统戏剧，认为它是一种“僵化的戏剧保存”，是之前创作过程的成品。特别是，莫雷诺反对合法戏剧的演员从书面戏剧中吸收角色的向心方式：外部材料，书面戏剧，同化为中心，演员。莫雷诺认为这样的过程是一种强加，因为它“不是真正的创造性，而是再创造性”。2根据这一概念，莫雷诺果断地区分了“戏剧”的排练艺术和“创作”的即兴艺术。莫雷诺也不同意斯坦尼斯拉夫斯基当时杰出的表演体系中缺乏自发性，在莫雷诺看来，自发性仅限于“重新激活承载着情感的（过去）记忆”，“将演员的有机体从陈词滥调中解放出来，使他尽可能地自由和创造性地应对未来的任务”。莫雷诺认为，斯坦尼斯拉夫斯基笔下的演员将自发的即兴表演与排练过的戏剧交织在一起，这使他们陷入了一种“深刻的心理冲突”——在戏剧与创作的两个对立维度之间被撕裂的状态。为了保护和复兴他那个时代僵化的戏剧，莫雷诺在1921年建立了维也纳自发性剧院，后来成为治疗剧院。直到1925年莫雷诺移民美国后，他的观众参与实验才发展成为他称之为心理剧的治疗方法。莫伦尼心理剧是一种集体行动方式，是一种“当下的艺术”，参与者在其中表演
J. L. Moreno (1889-1974), the founder of psychodrama, argued against legitimate theater, asserting it is a “rigid drama conserve,”1 a finished product of the preceding creative process. In particular, Moreno protested against the centripetal manner in which actors of legitimate theater assimilate a role from a written play: an external material, the written play, assimilates into the center, the actor. Moreno viewed such process as an imposition, for it is “not genuinely creative, but re-creative.”2 In line with this notion, Moreno decisively distinguished between the rehearsed art of “dramaturgy” and the extemporaneous art of “creaturgy.”3 Moreno also dissented with the scarcity of spontaneity in Stanislavsky’s prominent acting system of that time, in which, in Moreno’s view, spontaneity was limited “to the re-activation of [past] memories loaded with affect,”4 to “liberate the organism of the actor from cliches and make him as free and creative as could be for the task ahead.”5 According to Moreno, this intertwining use of spontaneous improvisation with rehearsed drama conserve involved Stanislavsky’s actors in a “deep psychological conflict”6—a state of being torn between the two dichotomous dimensions of dramaturgy versus creaturgy. To deconserve and revive the rigid theater of his time, in 1921 Moreno established the Viennese Theatre of Spontaneity, which later became the Therapeutic Theatre. It is only after Moreno immigrated to the United States in 1925 that his experiments with audience participation developed into the therapeutic method he called psychodrama. Morenian psychodrama is a group action method, an “art of the moment,”7 in which participants act out