Dar vienas žvilgsnis į psichologinį realizmą ir jo įspaudus lietuvių teatre

LTStraipsnyje analizuojamas psichologinio realistinio teatro modelis ir jo transformacijos XX a. dramos teatro praktikoje. Iškeliama Konstantino Stanislavskio sistemos interpretacijų problema Rytų ir Vakarų Europos bei Amerikos sceninėje praktikoje bei teatrologinių tyrinėjimų diskurse. Taip pat bandoma atskleisti, kokią vietą psichologinis realizmas užėmė atskirais lietuvių teatro raidos etapais ir kokias modifikacijaspatyrėpsichologinio teatro modelis modernioje lietuvių režisūroje. [Iš leidinio]Reikšminiai žodžiai: Realistinis psichologinis teatras; Stanislavskio sistema; Fizinių veiksmų metodas; Emocinė atmintis; Realistic psychological theatre; System of Stanislavsky; Method of physical actions; Emotional memory.

ENTheconceptof “realisticpsychological”theaterstemsfromStanislavsky’stheatermodel,although the usage of the term itself is complicated as it is associated with the issues regarding interpretations of Stanislavsky’s system. A peculiar “Stanislavsky cult” was present in the USSR for a long time, and his censored system was mandatory for all theaters across the Soviet Union.It can be presumed that “pure Stanislavsky” has been erased from stage practices, and that the creative methods of all prominent Russian directors of the second half of the 20th century were derived from the “sovietised Stanislavsky” that perforated the entire Eastern European theater mindset and its culture. American theater practicians interpreted Stanislavsky’s system in their own way and created a new character creation methodology known as “the method”, based on it.Since Stanislavsky’s theory on character creation can be applied to differentdirectingmodels, it is suggested to dissociate the term of psychological theater and not to equate psychology and realism. ThedirectionnoveltiesentrenchedintheLithuaniantheaterof the seventies and eighties did not abandon the principles of psychological acting, but rather pointed them in another course similar to the American “method” and related to newer theater movements. In the late nineties, dramaturgy representing “new realism” and forcing to look for the ways to convey a character’s extreme emotional states that were only marginally described in a drama text suggested yet another kind of psychological acting. [From the publication]