国台艺术大学97学研究所硕博士班招生考试戏剧学系博士班乙组.pdfVIP

國立臺北藝術大學 97學年度研究所碩博士班招生考試 戲劇學系博士班 乙組 世界劇場 試題 注意事項： 1. 試卷（答案卷）僅有一冊，不再增頁，請斟酌作答。 2. 本試題共有 2 頁，請考生於作答前務必檢查清楚，如有缺漏、 字跡不清等疑問，請當場提出，考後不得再行提出任何異議。 3. 試題必須隨試卷繳回。 4. 請在試卷上作答，否則不予計分；試卷請務必標明題號。 一、請仔細閱讀下面兩段文字後，作答文後的兩個問題： While searching for the ultimate training system for actors, Stanislavski noticed a gap between the physical and mental behavior of the actor on stage, as well as between the physical and mental preparation in the actor’s work on the character. In other words, the actor spent long days working internally and emotionally, and then tried to create a physicality in the character. By that time however, it was too late for organic physical work. This was due to the fact that the internal emotional choices of the actor had already found a physicality that was most likely to be small, unoriginal and lacking in theatrical form. Stanislavski realized that the physical life and psychological processes that the actor underwent, needed to be explored simultaneously, because they were interdependent. This led him to the simple, yet radical discovery that emotions could be stimulated through physical actions. This move from ‘Emotional Memory’ to his ‘Method of Physical Actions’ was an important shift in actor training at that time. It met with much resistance in Russia at the Moscow Art Theatre, and was resisted even more by acting students in the United States. Stanislavski constantly shifted his views, always trying to find more efficient ways for the actor to perform. This is why he was hesitant to publish his work for a long time. If he were alive today, it is mos