在中西文化激烈碰撞与交融的历史大潮中,俄苏戏剧大师梅耶荷德以中国戏曲美学精神为重要参照,进行了"假定性"演剧理论与导演实践的革新探索.梅耶荷德的"假定性"演剧观是对当时戏剧表演中占统治地位的自然主义的反拨,旨在打破舞台上自然模仿生活的幻觉背景和"第四堵墙",以假定的非逼真性实现戏剧的艺术真实.在梅耶荷德"假定性"演剧观的形成过程中,以中国戏曲为代表的东方艺术的"写意"精神无疑起到了重要的启示烛照作用.立足于中国戏曲的假定性本质,梅耶荷德在舞美设计、表演构思、"停顿"的运用以及程式化表现等方面在自身文化语境中对中国戏曲进行了学习借鉴.梅耶荷德对于"假定性"戏剧的探索革新,从一个侧面映现了中国美学精神对西方深远的镜鉴与影响意义.%In the fierce collision and blending of western and Chinese cultures, Meyerhold, the master of drama of the former Soviet Union, conducted innovation in "hypothetical"drama theory and director practice with reference to the spirits of Chinese opera aesthetics. Meyerhold's"hypothetical"drama theory is a correction for the dominant naturalism in dramatic performances, which endeavors to realize the artistic reality of dramas with hypothetical deception in order that hallucinatory background and "the fourth barrier"will be broken. The spirit of freehand in oriental arts represented by Chinese dramas has shed light on the formation of Meyerhold's "hypothetical"drama theory. Based on the hypothetical nature of Chinese dramas, Meyerhold conducted innovation on dance design, performance conception, "pause"application and stylized performance in his own cultural context, which reflects the profound influence of Chinese aesthetic spirits on their western counterparts.
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