披沙揀金的鑄造與提煉：鄧樹榮的劇場藝術

深受俄國梅耶荷德（Vsevolod Meyerhold, 1874-1940）和波蘭葛羅托斯基（Jerzy Grotowski, 1933-1999）戲劇理論影響的鄧樹榮，崇尚「簡約美學」與「形體劇場」，形成他特殊的演藝風格，從戲劇文本到敘事文本的《泰特斯》（2012）系列、舞劇《舞．雷雨》（2012）、無言形體喜劇的《打轉教室》（2011）、到現實主義話劇的《你為甚麼不是Steve Jobs》（2014），都從不同的藝術方向實踐他的劇場試煉，通過一系列單幕佈景的設置、在對白或無言的狀態下演說一台故事，借用演員本身的內外動量、在肢體和呼吸節奏的交替裹塑造人物；此外，他將「戲劇」結合「教育」，成立「形體劇場訓練學校」、開辦「工作坊」、培訓演員和創作者、開創《熱血軀體》（2013）作為「公開課堂」展演的範式等等，無不顯示了他的雄心壯志與創意精神。這篇論文分成兩個部份：第一部份鉤沉也勾勒鄧樹榮的藝術淵源，尤其是西方形體劇場、戲劇理論對他的影響和塑造，並且縷述鄧樹榮糅合東西方演藝文化的過程，看他如何通過理論、訓練和教育的實踐，披沙煉金的鑄造他的藝術版圖；第二部份是經典劇目的分析，從《泰特斯2.0》（2009）、《打轉教室》、《熱血軀體》和《你為甚麼不是Steve Jobs》的舞台呈現，配合表演理論的切入觀點，論述鄧樹榮的藝術成就。

關鍵字

形體劇場；簡約美學；前語言狀態；瑜伽靈修；藝術訓練體系

並列摘要

Influenced by the Russian Avant-garde Vsevolod Meyerhold and the Polish experimental artist Jerzy Grotowski, the most critically-acclaimed theatre director Tang Shu Wing advocates that the human body is the main instrument of expression. He proposes minimalist aesthetics and physical theatre as the base of art creation as well as educational training, in which the elements of pre-verbal expression, facial expression, the voice, breathing, gesture and spatial displacement are emphasized. They serve as the experimental ways to explore the possibilities of making realistic spoken drama, non-verbal theatre and dance drama. My article is divided into two parts. Part One researches the theatrical base of Tang's theatre by connecting his practice with the theories of directing and acting written by Meyerhold and Grotowski. I will explain such concepts as physicality, biomechanics, poor theatre and the total actor, and investigate Tang's artistic adaptation from traditional Asian theatre. Part two analyzes the art forms and cultural representation of Tang's theatrical works Titus Andronicus 2.0, Detention, Why Aren't You Steve Jobs? and A Passionate Body. My critical point of view is to argue how Tang's theory and practice are contextualized in the socio-political scenery of Hong Kong. My tactic of intervention is to open the critical dimension of physical theatre and its interrelationship with dance-making when Tang collaborates with the Hong Kong choreographers.