太極拳在俄國導演Anatoli Vassiliev於法國現代戲劇表演的應用：從文化衝擊到內在蛻變

Taiji quan in Anatoli Vassiliev's theatre in France: From culture shock to immanent transformation

何艾橙(Ai-cheng Ho)

《戲劇學刊》 33期 (2021/01) Pp. 87-113

摘要

俄國當代知名導演凡希列夫（Anatoli Vassiliev, 1942－）長久以將太極拳作為其演員的必要訓練。與法國劇場互動頻繁的凡希列夫，1992年第一次受邀到法蘭西喜劇院（La Comédie-Française） 創作《假面舞會》（Le bal masqué），不僅他的工作模式和戲劇觀點強烈挑戰傳承自莫里哀的法國第一劇場，同時，他的創作手法也引發各方爭議。2002年凡希列夫再次受邀到喜劇院呈現《東道主》（Amphitryon），要求演員密集接受內家拳太極和外家拳武術的鍛煉以開發演員的內在覺察。然而，需要大量時間投入、充滿異國情調又艱難的訓練激起法國演員巨大的困惑與反抗。但是，該製作的主要演員瑞夫（Eric Ruf, 1969-）指出在那次邂逅之後，他在表演中發現了新的自由。本文將從美學形式和演員內在覺察的開發等層面來探討太極拳如何在凡希列夫的劇場中被應用。本研究從太極拳作為武術和養生術的角度分析，了解其理論如何呼應凡希列夫的「趣味」表演和「概念」演技。並且以法蘭西喜劇院演員與凡希列夫的合作為例，以剖析這個中法俄三種文化交融所激起的文化衝擊和其所促成的戲劇創新，了解太極拳作為跨文化表演訓練面臨的挑戰，思索其如何可以在現代演員訓練中更有效被運用的方向。

關鍵字

太極拳 ； 表演 ； 凡希列夫 ； 法蘭西喜劇院 ； 劇場人類學

並列摘要

Russian director Anatoli Vassiliev has long been integrating the practice of Taiji quan, the Chinese martial art, into his actors' training. In 1992 he was invited for the first time to the Comédie-Française to present his production of Le Bal Masqué. Not only did his working method and theatre vision shake Molière's house, but his dramaturgy provoked polemics. In 2002, Vassiliev was invited again to the Comédie-Française and presents Amphitryon. He required the actors to intensively practice Chinese martial arts in order to develop the actors' awareness of interiority. The training exercises, strenuous and exotic, demanded enormous time and incited French actors' confusion and resistance. However, Eric Ruf, an actor in the cast, admitted that, after this ＂encounter＂ he discovered new freedom in his acting (Pascaud 2014). This paper analyzes Vassiliev's theatrical application of Taiji quan both as an aesthetic form and as a method for building the actors' awareness of interiority. With particular focus upon its aspects of the martial art and regimen, this paper investigate how Taiji quan corresponds to Vassiliev's ideas of ＂ludique＂ performance and ＂conceptual＂ acting. With reference to the colloration of Eric Ruf, Thierry Hancisse, Valérie Dréville, Agnès Adam and Hugues Badet with Vassiliev, this paper also uncovers the culture shocks and theatrical innovations promoted by this Russian-French-Chinese cultural confluence, explores the challenge of applying Taiji quan as a cross-cultural acting training, and consider the more efficient possibility of its practice in the training of modern actor.

並列關鍵字

Taiji quan ； acting ； Vassiliev ； La Comédie-Française ； Theatre Anthropology

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