- 學位論文
從劇場遊戲到身心訓練：台灣戲劇學系訓練演員的幾個主要問題研究
From Theatre Games to Psycho-physical Training: A Research on some of the Main Issues of Actor Training in Theatre Departments of Taiwan(1980-2015)
摘要
本論文以台灣戲劇系正規而常態的表演訓練作為研究對象，主要探討「台灣的大學戲劇系如何透過教育訓練演員」，進行追本溯源以及探討其教學內涵的工程。 1978年吳靜吉在蘭陵劇坊所主持的演員訓練，可視為現今戲劇系表演訓練最早的源頭。因為吳靜吉當時帶領的團員如金士傑、馬汀尼和李國修等，後來都成為台灣戲劇系的資深表演教師，影響了許多戲劇系出身的演員。其訓練內容裡的劇場遊戲與放鬆，成為台灣戲劇系表演訓練的重要元素。戲劇系的劇場遊戲融合其他表演教師引進的其他流派，轉化成戲劇系表演課的應用方式，強調認識自我且置於排演文本之前。 戲劇系在課程規劃裡置入傳統戲曲的學習，目的為了創造台灣的戲劇專才， 但戲曲與西方元素並未整合成台灣現代戲劇的風格，以致戲曲訓練與其他國內外身體技藝同樣為一種身體技巧。同樣因師生關係的轉變，台灣戲劇系表演訓練專才不再如以往緊密的師生關係下訓練出的技藝，而是主修或授課老師引導學生表演方法，學生必須自力更生。 戲劇系開設專門的聲音課以及排演文本時的聲音訓練來強化演員的語音。但因為著重呼吸、咬字、聲音表情等訓練，忽略了停頓和身體其他部分的關係，導致演員的舞台腔仍時有所聞。另外，排演文本時多使用翻譯劇本，演員受限於翻譯以及不了解本地各方言的語言文化，對於詮釋語音有許多侷限。在排演文本上同樣因外國劇本為多，又以寫實表演方法為主要教學，忠於原著的表演訓練下表演有不真實且與導演新詮釋有溝通上的問題。 戲劇系除了轉化了國外的表演訓練元素，甚至教師給學生的筆記也包含了台灣語境的意義。「放鬆」一詞在表演筆記上不只涵容了現代戲劇、心理學，甚至有東方的身心觀在其中。表演訓練去除原本的脈絡只留下活動、指令和筆記時，學生演員便有認同上的困難。同樣的問題也出現在劇場遊戲、翻譯文本以及語音訓練上。 從1980年代台灣的表演訓練即帶有認識自我的特色，影響至戲劇系的表演訓練中，可能使學生演員認同社會面具下的自我，而非真實認識自己與他人、世界的關係。本論文提出台灣戲劇系的表演訓練需整合台灣語言與文化的多重內涵，來協助台灣演員建立自己的定位，乃至身心關係，因而能成為世界性演員的一份子。
並列摘要
This dissertation investigates the methods of training Taiwanese actors in theatre studies departments in Taiwanese universities, through examining their official and long-term acting-related curricula. The aim is to understand the historical context and development of the training and discuss the connotations of these courses. The beginning of today’s acting training in theatre studies department can be traced back to 1978, when Wu Jing-Ji led an acting training in Lanlin Theatre Company. Members of the company have later become senior acting teachers in Taiwanese universities, such as Chin Shin-Chieh, Tin-ni Ma and Hugh Lee, all of whom have had huge influences on many graduate actors in Taiwan. The theatre games and relaxation in Wu’s training have become important elements in the courses offered by theatre studies departments. The theatre games in particular have been integrated with other training systems introduced by acting teachers. The result of this integration is that these theatre games are part of acting courses which emphasize knowing actors themselves and are commonly used before script-rehearsals. In order to train professional actors in Taiwan, studying traditional opera is included in curricula in some theatre studies departments. But the elements of traditional opera and Western theatre are not integrated into a unique style of Taiwanese theatre; instead, traditional opera training is more used as physical training to develop actor-students’ body techniques. Additionally, relationships between teachers and students are no longer closely forged as before. Nowadays, the teaching focuses on acting methods and with guidance of the teachers, the students must be independent in finding their own ways. Theatre studies in Taiwan offers voice and text training courses to strengthen actors’ voices, such as breathing, words and emotions of voice, while making pauses and muscularity are often neglected. This is why ‘the accent of the stage’ can often be detected in actors. Besides, the language of the classical scripts translated into Chinese brings actors the difficulty in presenting their voices. Since the language culture in Taiwan is not yet fully developed, the vocal presentations in Mandarin Chinese and other dialects are limited. Rehearsal classes use mainly foreign classical scripts and focus on realism acting. Under the principle of being true to the original scripts, acting becomes, instead, unreal and actors have problems conveying the new interpretation of the directors. In theatre studies departments, foreign training elements are reinterpreted and transformed into acting teachers’ own way of training; class notes given to students contain the meanings derived from the Taiwanese language system and interpretations. Therefore, the term ‘relaxation’ does not only carry meanings in modern theatre and psychology, but also in psychophysics in the Eastern. Without the context, acting training is left with activities, instructions and notes. As a result, actor-students have difficulties in identifying themselves. The same questions also appear in the theatre games, translated texts and voice training. In the 80’s the acting training in Taiwan placed its emphasis on knowing oneself, which might cause actor-students to identify the ego of the social mask, instead of the real relationship of self, others and the world. This dissertation suggests that acting training in Taiwan should integrate the multi-connotations of languages and culture in Taiwan so as to help Taiwanese actors find their identities and discover the link between body and mind, so that Taiwanese actors can become members of the worldwide.