斯坦尼斯拉夫斯基表演体系形(以下简称“体系”)成于19世纪末至20世纪初的苏联。期间经历了俄国十月革命和民主革命政治时期。“体系”自传入我国便为演员创作提供理论依托,它整套系统、规范、科学的训练方法直至今日仍不失培养、训练演员的利器;但,时代在发展,人的思想观念在更迭,“体系”的技术格局也不可能一成不变。本文试从时代、社会发展的实际出发,结合戏剧美学的观点,以此来探讨摆脱体系“影子”的若干问题。 Stanislavski performance system (hereinafter referred to as “system”) became the Soviet Union from the late 19th century to early 20th century. During the Russian October Revolution and democratic revolution political period. Since its introduction into our country, “System” has provided a theoretical basis for the creation of performers. Its complete set of systematic, standardized and scientific methods of training has not yet cultivated and trained the actors today. However, the development of the times and the notion of human beings Change, “system ” technical pattern can not be immutable. This article tries to discuss some issues that get rid of the system “shadow ” from the view of the era and social development and the viewpoint of drama aesthetics.