A Meeting Point or a Turning Point: On Vakhtangov's Theatrical Activities and Thought

人們普遍認爲瓦克坦戈夫是斯坦尼和梅耶荷德兩種對立學說的調和者。本文則依據歷史事實指出：儘管瓦氏早年深受斯氏影響，但在西歐和俄蘇反現實主義戲劇潮流影響下，他逐漸轉向了梅氏；尤其是，瓦氏在生命將盡之時導演的《杜蘭多公主》，完全是一部反現實主義的舞台作品。只是由於早逝，他未有足夠時間去充分實踐他的「幻想現實主義」。本文還進一步分析了瓦氏被誤讀的歷史原因：在當時的蘇俄，「社會主義現實主義」統治著文學藝術，「現實主義」被人褒揚，「反現實主義」遭貶斥，因此瓦氏弟子自然要強調「幻想現實主義」並未逾越「現實主義」的界線，同時淡化瓦氏身上的反現實主義色彩。

關鍵字

瓦克坦戈夫；蘇俄戲劇；反現實主義戲劇；杜蘭多公主

並列摘要

A very common perspective concerning Vakhtangov is that he is an eclectic who combines Stanislavsky's psychological realism and Meyerhold's theatricalism. Based on historical facts, however, this paper indicates that although Vakhtangov was deeply influenced by Stanislavsky in the early stage of his career, under the impact of anti-realism in Western European and Russian theatre, he gradually changed from Stanislavskian realism to Meyerholdian theatricality. Particularly, The Princess Turandot directed by Vakhtangov in the very year of his death was a stage production of pure anti-realism. Since his life was short, Vakhtangov only proclaimed his theory of ＜||＞fantastic realism＜||＞, but did not have enough time to practise it fully. Furthermore, this paper also analyzes the historical reasons for misunderstanding Vakhtangov: in the Soviet Union then, ＜||＞socialist realism＜||＞ dominated literature and arts such that ＜||＞realism＜||＞ was a positive term while ＜||＞anti-realism＜||＞ was a negative one; naturally, Vakhtangov's students had to emphasize that ＜||＞fantastic realism＜||＞ was not beyond realism, and on the other hand de-emphasize their remarkable teacher's anti-realistic leanings.