邁向圓滿行動的葛羅托斯基方法：我們的原則、自我紀律、個人化、障礙的消除和程式的編排

葛羅托斯基將圓滿行動定義為一種「卸下、剝光、揭露、敞開和發現的行動」，亦即演員用身體和聲音來穿透自己的各個經驗領域，進入了當下、合一、出神、入定或斯坦尼斯拉夫斯基所說的「我就是」的狀態。圓滿行動是葛羅托斯基演員訓練、排練、演出的最高核心目標：當演員進入圓滿狀態，「此時表演的本質浮現，會有火花在演員和觀眾間跳來跳去」。葛羅托斯基將自己的表演訓練方法界定為「減法」，亦即，「不是一套套的技巧的累積，而是障礙的去除」。本論文以葛羅托斯基在其貧窮劇場（1959-69）期間的直接探索、傳授為主，其演員和門生故舊的追述為輔，將引領表演者攀上圓滿行動高峰的「葛羅托斯基表演方法」首度分成五大元素來加以論述：一、我們的原則，二、自我紀律，三、個人化，四、障礙的消除，和五、程式的編排。葛氏和他的演員們為何流血流汗、百折不撓地探索圓滿行動呢？因為圓滿行動是人類的需要：雖然難以置信，且幾乎可遇不可求，但是，「我們都需要這些，我們需要在表演者身上看到上天的化身」。這不是玄學，也不是宗教，而是人之所以為人的本能。

關鍵字

葛羅托斯基；圓滿行動；貧窮劇場；表演方法；表演程式

並列摘要

Grotowski defines "total act" as the "act which strips, bares, unveils, reveals, and uncovers," and with this act of self-penetration an actor will experience a state of being which is hic et nunc, commune, trance, concentration, or what Stanislavsky calls "I am being." Total act proves to be the highest goal and essence of Grotowski's Poor Theatre: When an actor achieves this "state of grace," "the essence of the performance will come into being: that is, a spark jumping between the actor and the spectator." Grotowski further defines his method as "negative," that is, "a via negativa-not a collection of skills but an eradication of blocks." This paper examines Grotowski's works and practices during the Poor Theatre period (1959-69), with additional clarifications from his actors and collaborators, to pursue for the first time in Grotowski scholarship how the Poor Theatre master led his actors as they climbed up the Everest of modern theatre. The resulting "Grotowski method" is composed of these five elements: 1. Our Principles; 2. Self-Discipline; 3. Personification; 4. Eradication of Blocks; and 5. Organization of the Actor's Score. Why did Grotowski and his actors spend so much time and effort on total act? Because total act is a human need: We all need it, we all need to see in the performer "a glimpse of God." This is no mystery, no religion, but a basic human instinct.