表演者的秘密：尤金諾．芭芭及其劇場人類學研究

The Secret Art of the Performer:A Study of Eugenio Barba and His Theatre Anthropology

張育嘉(Yu-Chia Chang)

指導教授 ： 廖仁義

國立臺北藝術大學/戲劇學院/戲劇學系碩士班/碩士(2007年)

https://doi.org/10.6835/TNUA.2007.00025

摘要

尤金諾．芭芭（Eugenio Barba，1936~ )，義大利人。劇場導演、演員訓練者、作家。1964年在挪威創立歐丁劇場（Odin Teatret），1966年劇團遷移至丹麥。其組成份子是當年被戲劇系拒絕在外的年輕人。1980年創立國際劇場人類學校（ISTA），更深入的研究各文化表演者的表演。

本論文以芭芭的戲劇理念和劇場人類學研究為主，其作品解析在此不加以討論。除了介紹芭芭生平以外，並論及他劇場人類學概念的養成，來自於表演者在舞台上表演的「真實」。也討論到芭芭在波蘭求學時期，葛羅托斯基對他的影響。此外「第三劇場」理念的落實，是其劇場人類學的濫觴。

芭芭的劇場人類學以演員的「在場」（presence）為探討的主架構，是討論何謂劇場人類學與表演者的「前表現性」（pre-expressive）研究。「前表現性」包含三個主要原理：改變平衡的原理、對立的原理、前後一致的不協調與省略的好處，也討論軍等原則與被決定的身體。文中並以歐丁演員Roberta Carreri為表演訓練歷程為範例。除了芭芭的劇場人類學實踐：包括表演訓練、與芭芭的劇場理念外，最後一章節討論到歐亞劇場的概念實踐，包含文化交換（以物易物）與國際劇場人類學校。

關鍵字

尤金諾•芭芭 ； 劇場人類學 ； 前表現性 ； 歐丁劇場 ； 以物易物 ； 歐亞劇場 ； 第三劇場 ； 國際劇場人類學校 ； ISTA ； Roberta Carreri

並列摘要

Italian born, Eugenio Barba is a theater director, an actor trainer, and a writer. In addition, at the age of twenty-seven, Barba founded the Odin Teatret in Oslo in 1964, which he later moved to Holstebro in 1966. The original members of Odin Teatret were comprised of aspiring actors who had failed to attain a position in the Oslo Theatre School. Furthermore in 1980, Barba founded the International School of Theatre Anthropology (ISTA), where the craft of being an actor is examined and explored from different cultures.
The thesis not only focuses on Barba’s Theatre Anthropology and his conception of theater, but it also discusses how an actor must be “true” on stage. Moreover, it shows Jerzy Grotowski’s influence on Barba when they met in Poland. it probes into the concept of Third Theatre, which is the source of Barba’s Theatre Anthropology. Lastly, in the final chapter, it touches upon the concepts of Eurasian Theatre, Bartering and ISTA’s works.
An actor’s “presence” makes up the major framework behind the school of thought of Theatre Anthropology. Moreover, Barba emphasizes being “pre-expressive” as the main element of “presence”. Being “pre-expressive” is comprised of three principles: the principle of alternation in balance, the principle of opposition, and the principle of consistent in consistency. On top of those, it also includes the principle of equivalence and the principle of the “decided body”. All of these principles were implemented by Roberta Carreri, who is a member of Odin Teatret.

並列關鍵字

Eugenio Barba ； Theatre Anthropology ； Pre-Expressive ； Odin Teatret ； Barter ； Eurasian Theatre ； Third Theatre ； the International School of Theatre Anthropology ； ISTA ； Roberta Carreri

參考文獻

2006年3月30日台北藝術大學戲劇學院，大師與導演座談 （Eugenio Barba、楊世彭、賴聲川）影像紀錄。

2006年3月31日北藝術大學戲劇學院，大師演講、Barter （Eugenio Barba、Kai Bredholt）影像紀錄。

Barba, Eugenio (2005) “Children of Silence: Reflections on Forty Years of Odin Teatret”, The Drama Review, Spring: T185, pp.153-161

------------------- (2004) “The House of My Origins---And my Return”, The Drama Review, Spring: T181, pp.6-10

------------------- (2002a) “A Chosen Diaspora in the Guts of the Monster”, The Drama Review, Winter: T176, pp.147-153