印尼宮廷儀式舞蹈貝多優的身體行動方法研究

A Research on the Method of Physical Actions of Bedhaya, the Indonesian Court Dance

林佑貞(Yu-Chen Lin)

指導教授 ： 鍾明德 ； 薩爾．穆吉揚托

國立臺北藝術大學/戲劇學院學術論文/戲劇學系博士班/博士(2015年)

https://doi.org/10.6835/TNUA.2015.00106

摘要

摘要

貝多優（Bedhaya）既是古老的舞蹈形式，亦是印尼中爪哇日惹和梭羅宮廷極富神聖特質的儀式。它融合了中爪哇傳統宗教思惟和宇宙觀，透過個人身體與精神全然地具體實踐來呈顯天、地、人三者之間平衡、和諧的關係。當貝多優這樣的傳統儀式舞蹈轉向，成為一門表演藝術，宮廷與表演者勢必得面對傳承與保存的隱憂。又，隨著舞蹈大師們的逐漸凋零，和時局的轉變，貝多優的本質與中心價值能否延續，確實面臨相當大的考驗。縱觀前人從民族音樂學、人類學、社會學等角度檢視貝多優的豐富研究，尚未有專論試圖從西方現代劇場理論與實驗的面向，來呈顯貝多優原已俱足的先人智慧及其未來性。有鑑於此，本論文採取「身體行動方法」（Method of Physical Actions，簡稱MPA）的嶄新觀點，將貝多優視為爪哇民族發展出的一種MPA，能夠讓表演者與觀者被帶到神聖之域，經歷意識或存有的轉化（transformation）。

「身體行動方法」為史坦尼斯拉夫斯基（Constantin Stanislavski, 1863-1938）晚年（1933年之後），為幫助演員更有效地進入「創意狀態」而發展出來的一套表演方法，即透過有意識的訓練（MPA），能使演員進入活脫脫的、有機的、自發的、有創造力的最佳表演狀態。有了史氏畢生的研究成果，葛羅托斯基（Jerzy Grotowski, 1933-1999）得以踩著巨人的肩膀，飛躍而起，他宣稱自己畢生工作的結果即是身體行動方法。鍾明德是臺灣的劇場工作者暨研究者，受到葛氏的震撼與啟發，透過個人11年來對於不同身體行動方法的親身實踐、研究與比較後，提出MPA為培養有機活潑身心狀態的方法，也是表演者能否展現出「在場」（presence）的舞台魅力的關鍵。

爪哇所發展出的貝多優身體行動方法到底如何運作，如何使表演能夠符合爪哇美學的標準？這又和史坦尼斯拉夫斯基、葛羅托斯基與芭芭所主張的活生生的、達到存在感或在場（presence）的演出有何差異？個別的表演者如何經由各種訓練，內化老師所教導的表演理論，以為個人的身心健康與社會的安寧幸福發揮強大的效力，達到舞蹈貝多優的終極目的──經歷轉化，成為更好的（爪哇）人？本論文運用「身體行動方法」作為研究理論架構、研究方法和研究對象的實踐方法，在一一追尋這些問題的解答過程中，深層切入，理解與剖析中爪哇宮廷儀式舞蹈貝多優，省思貝多優的哲理、貝多優大師們的訓練養成與美學價值，彰顯其同時作為一傳統表演藝術形式以及個人身心鍛鍊的獨特性與重要性，盼能提供一個有助於它永續發展的堅強理由，以及一個值得世人親身實踐的法門。

關鍵字

中爪哇宮廷儀式舞蹈 ； 貝多優 ； 身體行動方法 ； 在場 ； 意識�存有轉化

並列摘要

Abstract

Not only is it an ancient dance form, Bedhaya is also a ritual full of sacred characteristics in the courts of Yogyakarta and Surakarta in Central Java, Indonesia. It blends traditional Javanese religious philosophy and its particular worldview. Through a thorough practice of body and spirit, the dance-doers/performers reach the balance and harmony among Heaven, Earth and man. As the traditional ritual dance of Bedhaya turns into a performing art form, one must face the concerns for its legacy, heritage and its preservation. Also, as many dance-masters age and with the changes in our world, the ordeal is whether the essential value of Bedhaya would be continued and transmitted. Although researches on Bedhaya have different perspectives ranging from ethnomusicology, anthropology, sociology, etc., there has not been further research that attempts to represent the wisdom inscribed in Bedhaya and its prospects from the dimension of Western modern theatre and its experiments. Thus, this paper takes a bold move in applying the theory of MPA (abbreviated for the Method of Physical Actions) and considers Bedhaya as a kind of MPA created and developed by the locals. It is my belief that Bedhaya MPA introduces its performers and spectators to a scared territory and allows them to experience the transformation of being/consciousness.

Having been developed by Constantin Stanislavski (1863-1938) since 1933, roughly in his late years of theatre experiments, “the Method of Physical Actions” is a performing method that helps actors enter the “creative state” more effectively and more efficiently. By going through a training consciously, MPA enables actors to attain a vivid, organic, spontaneous, and creative state when performing. Owing to the credit of Stanislavski’s research, Jerzy Grotowski (1933-1999) was able to stand on the giant’s shoulder and make a high leap on his theatrical experiments. He claims that his lifetime achievement is itself a method of physical actions. Inspired by Grotowski’s work and teachings, Ming-der Chung, a theatre practitioner and researcher in Taiwan, has started practicing and doing researches on different MPAs for more than 11 years. In his recent studies, for example, in A Trilogy of Art as Vehicle: How Can Total Awareness Be Achieved? (2013), he suggests that MPA is a method for cultivating organic state of body and mind. For him, it is also the key for performers to express their presence on stage.

Several questions thus arise. For example, how does the Javanese Bedhaya MPA function? How does it allow its performers to meet the Javanese aesthetics? In what sense is it different from the theories of Stanislavski, Grotowski or Eugenio Barba, that is, how do the performers become alive or express their presence on stage? Also, how does each individual performer, by all kinds of training, internalize Javanese performing theories and teachings from his/her gurus to achieve the ultimate goals of Bedhaya: to experience transformation, to become a better Javanese/human being with good health and happiness; in the meanwhile, to strive for the world’s well-being? My contribution in this paper is that I apply MPA as its methodology, theoretical framework, and subject matter. In the process of looking for answers to these questions, I seek to explore and analyze Bedhaya as ritual dance, examine its symbols and religious philosophy, and most importantly, to discuss its training process and aesthetics adopted by different Bedhaya masters. The purpose is to manifest the singularity and significance of Bedhaya as a traditional performing art and especially as a physical and spiritual practice (MPA) for any individuals. It is my hope to help provide a strong reason for its sustainable development and an approach worthy of personal practice worldwide.

並列關鍵字

Central Javanese court ritual dance ； Bedhaya ； the Method of Physical Actions ； presence ； transformation of being/consciousness

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