江譚佳彥：《猴賽雷》劇場文本及其表演訓練思維之探究

A Research on Chongtham Jayanta Meetei： Monkey the Great and His Acting Training Ideas

賀世芳(Shih-Fang Ho)

指導教授 ： 林國源

國立臺北藝術大學/戲劇學院學術論文/戲劇學系碩士在職專班/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00024

摘要

江譚佳彥（Chongtham Jayanta Meetei，1969∼ ），印度曼尼普邦人，身兼劇場導演、演員、編劇及表演訓練者。江譚佳彥常與世界各地卓越導演、劇場人士合作，於印度及台灣主持過許多表演工作坊，迄今參與的專業演出超過25齣，導演17個作品，其不僅導、表演之創作能量充沛，對表演訓練亦有豐富的經驗與見解。

本文先介紹江譚佳彥的戲劇相關背景，再探究其作品《猴賽雷》自繪本到劇場的轉化工程；故事始於繪本的《猴賽雷》，其編劇、排戲到劇本的形成，具「集體即興創作」的精神，但由於導演江譚佳彥有其訓練演員創作與編劇的方法，使《猴賽雷》的編創模式有別於「集體即興創作」。本章並以江譚佳彥的劇場理念為核心，研究《猴賽雷》中運用的形式或手法，如：敘事性、多語言、多文化肢體和舞蹈等，以及劇場設計者使用多元文化語彙的想法及意義。

江譚佳彥的作品具濃厚的亞洲風格，演員的身體除嚴格鍛鍊外，亦須對亞洲劇場的身體美學有所認識與學習，並轉化運用於表演上。筆者親身參與由江譚佳彥規劃指導的「EX-亞洲劇團2012團員培訓計畫」，透過學習、觀察、演出與訪問所有老師及團員，試圖發掘此訓練與表演之間的關聯性，進一步了解江譚佳彥的表演訓練思維及其劇場理念之實踐過程。

關鍵字

江譚佳彥 ； EX-亞洲劇團 ； 繪本 ； 集體創作 ； 敘事性 ； 多元文化 ； 亞洲劇場

並列摘要

Born in Manipur, India, Chongtham Jayanta Meetei (1969) is a theatre director, actor, writer as well as an acting teacher. Chongtham Jayanta Meetei often collaborates with talented directors and theatre artists from all over the world. He has organized several acting workshops in both India and Taiwan. He has participated more than 25 theatre productions as a professional theatre artist, while he has directed 17 theatre works up to now. He is not only a prolific theatre director and actor, but also an experienced acting teacher with his unique vision.

Beginning with Chongtham Jayanta Meetei’s background in theatre, the thesis further discuss how MONKEY THE GREAT! has been transformed from a picture book to a theatre production. Adapted from an illustration book, the whole process of MONKEY THE GREAT! from playwriting, rehearsal, to the final script has shown the spirit of “collective creation.” However, the director Chongtham Jayanta Meetei has his unique method of acting training and playwriting, the development of the script is not equivalent to “collective creation.” The thesis focuses on Chongtham Jayanta Meetei’s artistic concept as a theatre artist, through which it explores the form and the technique adopted in MONKEY THE GREAT!, including its narrative, the use of multi-language, multi-cultural dance and physical movement, and etc. The concept and the significance of the designers’ multi-cultural vocabulary are also discussed in the thesis.

Chongtham Jayanta Meetei’s works demonstrate an Asian style, requiring actors to train their bodies in a rigid way and to have certain understanding as well as learning about the aesthetics of the physical movement in Asian theatre which should be transformed and applied in acting. I have personally participated in the “EX-Theatre Asia’s 2012 Acting Workshop for its member actors,” projected and taught by Chongtham Jayanta Meetei. Based upon my learning, observation, performance with EX-Theatre Asia, and the interview with teachers and other members, I attempt to explore the relationship between its training method and the performance style. Moreover, the thesis provides a further understanding of Chongtham Jayanta Meetei’s artistic concept of acting training and how he puts it into practice.

並列關鍵字

hongtham Jayanta Meete ； , EX-Theatre Asia ； picture book ( illustrated book) ； collective creation ； narrative ； multiculturalism ； Asian theatr

參考文獻

這篇論文的研究對象－－江譚佳彥，來自印度曼尼普邦 ，是台灣的新住民藝術家。2006年定居台灣後成立「EX-亞洲劇團」，擔任藝術總監暨導演，迄今每年都有新作推出。目前尚無任何書籍或相關研究論文，以江譚佳彥或其作品為研究對象，僅有數篇藝術雜誌的報導可做為筆者研究初期的參考依據。筆者選擇以下兩篇：2008年《表演藝術雜誌》廖俊逞撰寫的〈藝術新住民Jayanta在創作中尋根〉以及2011年《國藝會》林乃文撰寫的〈尋找亞洲的獨特－江譚佳彥的創作歷程〉。其它與江譚佳彥或其作品相關的劇評、電視採訪，對筆者的研究亦具有基礎的參考價值。