现代外国戏剧及其理论发展很快,导、表演理论自不例外。我国戏剧界较早接受了斯坦尼斯拉夫斯基体系,并以此作为导、表演方面主要的理论基础,这对我国戏剧的发展提高起了积极的作用;近年来布莱希特体系也有了一些介绍,也收到了较好的效果。但总的来说,毋庸讳言,我们的眼界还不够宽,尤其对世界上除斯氏体系与布氏体系之外甚为丰富的各种导、表演流派所知甚少。本刊曾对格洛托夫斯基的演员训练方法作过介绍,引起了戏剧界同志们的兴趣。为有助于读者更多地了解格洛托夫斯基及其他戏剧革新家的戏剧观,并借以分析现代导、表演艺术发展的趋势,这一期我们对位于当今最有影响的导演兼理论家之列的布鲁克、格洛托夫斯基以及他们的先驱者阿尔托关于戏剧导、表演的理论作一介绍。这些理论不可避免地带有他们各自社会、阶级的烙印,其语言习惯也和我们颇不相同,因此,研究这些理论,需要化力气、动脑筋,由表及里、去芜存菁,方能为我所用。作为研究的对象,读者自会以正确的观点从中得出自己的结论。 Modern foreign drama and its theory have developed rapidly, guide and performance theory is no exception. The theater industry in our country accepted the Stanislavsky system earlier and used it as the main theoretical basis in the field of conducting and acting. This played a positive role in the development of the theater in our country. In recent years, the Brecht system also has some Introduction, also received good results. In general, however, it goes without saying that our vision is not wide enough, and we know very little about the various schools of directors and performing arts in the world that are exceptionally rich with the Smiths and Briggsian systems. This publication has made a presentation on Grotowski’s actor training methods, arousing the interest of the theater comrades. In order to help readers understand more about Grotowski’s and other theater innovators’ theatrical concepts and to analyze the trends in the development of contemporary directors and performing arts, we are most concerned about the most influential directors and theories of today Brooke, Grottovsky, and their pioneer, Alto, make a presentation on the theory of drama and performance. These theories inevitably bear the imprint of their respective societies and classes, and their language habits are quite different from ours. Therefore, studying these theories requires strength, brains, I use. As the object of study, readers will come to their own conclusions from the correct point of view.