特爾左布勒斯身心能量劇場及其在臺跨文化製作：《酒神的女信徒》（2016）與《葉瑪》（2018）

Theodoros Terzopoulos’ Psychophysical Theatre and his Intercultural Approach to The Bacchae (2016) and Yerma (2018)

蔡志擎(Chih-Ching Tsai)

指導教授 ： 謝筱玫

國立臺灣大學/文學院/戲劇學研究所/碩士(2021年)

https://doi.org/10.6342/NTU202104109

摘要

希臘劇場導演狄奧多羅斯．特爾左布勒斯於1986年發表《酒神的女信徒》，開展了他「反傳統」、「反寫實」的獨特劇場美學。特氏以儀式化的劇場語彙來詮釋悲劇，以演員的身體及身心能量作為創作的素材，意圖解構新古典主義時期以來的心理劇場傳統。他以「生物動力法」為原則發展出的「阿提斯方法演員訓練」，意圖拆除演員身體文化建構，使演員成為自主的創作主體，在他「死亡的前廳」劇場持續往深處去挖掘存有意義，以身體出神狂喜的狀態，不斷地重新認識自我，並去探索「這一切是關於什麼？」的本質提問。對特氏來說，以身體與能量的路徑來詮釋悲劇中的人類存有意義是具有「跨文化」意味的，也因此他到世界各地執導作品、傳授阿提斯方法，足跡亦曾到過臺灣。他分在2016年及2018年於臺灣執導《酒神的女信徒》及《葉瑪》，即是以身體跨文化的路徑取經，以能量的劇場找到作為人類的「普世性」。然而，這個人類剝除文化後的普世性究竟為何？這個「普世性」的傳統在他的劇場裡如何以他獨特的劇場語彙來展現？又阿提斯方法所要開發之原型的身體(the Archetypal Body)，如何體現他的劇場思想及存在哲學，且是否真的能「跨」過文化差異？本文將以狄奧多羅斯・特爾左布勒斯為研究對象，就他的劇場思想、美學以及身體訓練實踐三部分作系統性論述，並分析特氏在臺《酒》與《葉》雙製作中的跨文化途徑，嘗試回答上列問題，並期望提供未來劇場實踐者與觀眾不同的觀看視野。

關鍵字

狄奧多羅斯．特爾左布勒斯 ； 悲劇 ； 身心合一演技 ； 演員訓練 ； 跨文化劇場

並列摘要

Theodoros Terzopoulos, a critically acclaimed Greek theatre director, staged his first version of Euripides’ The Bacchae in 1986, his manifesto in theatre, and since then has been known for his anti-traditionist and anti-realistic approach to tragedy. His re-interpretation of ancient tragedies, foregrounding their predramtic elements and performer’s psychophysical energies, marks the deconstruction of the long-standing tradition of psychological drama since the neo-classicist period, and from the fragments he reconstructs a theatrical universe of energy, impulse and experience. In his “antechamber of death,” he urges his actors, with their liberated bodies and minds, to explore the metaphysics of human existence from the depth of tragedy. Drawn from the principles of “biodynamics,” his innovative way of actor training strips away the cultural inscription on an actor’s body, and thus “the Body” becomes an autonomous material, able to explore any possibilities encountered in theatre. For Terzopoulos, bodies and energies are common grounds for human beings and therefore his approach is intercultural. In the pursuit of universalism, he travels the world, working with actors from diverse cultural backgrounds. His footprints include Taiwan – as he was invited to direct The Bacchae in 2016 and Yerma in 2018.
However, what constitutes the universalism and how is this universalism revealed through Terzopoulos’ unique theatrical languages? How does “the Archetypal Body,” as cultivated through Attis Method, bring light to his discourse on human existence and interpretation of tragedy? Is this universalism proposed really an intercultural one? This thesis aims at providing a systematic analysis on Terzopoulos’ philosophical discourse, theatrical aesthetic and practical methodology of actor training, to be exemplified by the analysis of The Bacchae (2016) and Yerma (2018). While probing into possible answers to the questions above, this thesis also hopes to provide an alternative perspective on theatre for future theatre practitioners, researchers and spectators.

並列關鍵字

Theodoros Terzopoulos ； tragedy ； psychophysical acting ； actor training ； intercultural theatre

參考文獻

（一）專書及專文

Aristotle. Poetics. Trans. Anthony Kenny. Oxford, Oxford University Press, 2013.

Arvanitakis, Konstantinos I. “Terzopoulos’ Jenseits: The Psychoanalytic Foundation of Terzopoulos’ Theatre.” Dionysus in Exile: The Theatre of Theodoros Terzopoulos, Berlin, Verlag Theatre der Zeit, 2019, pp. 80–94.

Barker, Clive. “Twentieth-Century Actor Training.” Joan Littlewood, edited by Alison Hodge, 1st ed., London, Routledge, 2000, pp. 113–28.

Bataille, Georges. Inner Experience. Albany, State University of New York Press, 2014.