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瓦列里·福金是俄罗斯戏剧领域的领军人物,由他执导的第三版《钦差大臣》在京沪两地的演出引起国内戏剧界对其艺术风格的更多关注。在感叹耳目一新之余,仔细观察我们会发现很多所谓“新手段”实际上是“旧”的,福金一直在尝试借鉴20世纪初以梅耶荷德为代表的俄国现代派戏剧思路赋予俄国经典以新生命,同时也不断努力摆脱梅氏的痕迹,执导作品中常见的抽象化、假定性、广场戏剧元素在20世纪初已经作为极其先锋的舞台呈现方法出现在诸多戏剧评论和剧院演出中。此外,对福金艺术手法的分析可以激发我们改换角度思考戏剧形态问题。
Valery Fukien is a leading figure in the field of Russian drama. The third edition of his “imperial envoy” directed by him performed in Beijing and Shanghai attracted the attention of the domestic theater community to his artistic style. In a sigh of refreshment, careful observation we will find a lot of so-called “new means ” is actually “old ”, Fujin has been trying to learn from the early 20th century, represented by Meyer Hodgkin’s Russian modernist drama The ideas gave the Russian classics a new life, and they also worked hard to get rid of the traces of Mehs and directed the abstraction and hypotheticalness common in the works. The dramatic elements of the square, which had been extremely vanguard in the early 20th century, appeared in many dramatic commentary and Theater performance. In addition, the analysis of Fukien’s art practices can inspire us to think differently about dramatic forms.