身體技術作為工夫實踐：六Ｏ至九Ｏ年代台灣現代劇場的修「身」

Technology of the Body as a Practice of Self-Cultivation: Askesis and Body in Taiwanese Modern Theatre, 1960s to 1990s

葉根泉(Ken-Chaun Yeh)

指導教授 ： 龔卓軍

共同指導教授 ： 洪祖玲(Zu-Ling Hong)

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(2014年)

https://doi.org/10.6835/TNUA.2014.00204

摘要

「身」有其具象與抽象的兩種層次：在舞台上的表現不僅被觀看到肢體動作，亦有其內在抽象思維所包含、隱身於內蘊的底層，如此內面性會涉及到生活的層面，亦是創作者將其生命中「關照自我」 (the care of the self)的實踐與舞台表現的身體技術，作為聯結。

例如亞陶(Antonin Artaud)的殘酷劇場(the theatre of cruelty)被定位為非再現式(non-representational)的表現式(presentational)劇場，從生命具有的不可再現之本質，它就是生命本身。台灣現代劇場中，劇場工作者試圖從身體技術的訓練上，去找尋到修身的工夫實踐，例如人子劇團、優劇場擷取葛羅托斯基的養份，促使優劇場走向尋找東方身體「道藝合一」的道路；無垢舞蹈劇場觀照自我生命與外在世界的聯結，所創造出儀式劇場美學。

台灣現代劇場兩個重要的轉折：一、為戰後1949年國民黨政府遷移政權到台灣，二、為1987年解嚴前後的時代。許多論述者在思索台灣現代劇場的「現代性」，認為從西方劇場所挪移的形式與技巧，這樣「西化」的路線才是唯一「現代性」的面向。但路徑運動的行進，不會完全是直線線性，有時是曲折、繞圈或是折返，仍有一股「回歸」後座的力量。如因納斯(Christopher Innes)認為「原初主義」(primitivism)是觸發劇場的實驗性的動機，他指出現代性的科學特質和回歸「原初」的形式是並行不悖。

本論文以身體作為切入的視角，帶到修身的自我技術(technology of the self)。如此雙重的「身」體性，從外部轉向內在，經由轉化自我去建立起主體。並驗證台灣八Ｏ年代末期興起的「本土化」運動，朝著追尋自我的方向前進。身體技術作為工夫實踐，亦是觀照六Ｏ至九Ｏ年代台灣現代劇場，如何從修身的歷史經驗，找到台灣現代劇場獨特的主體性。

關鍵字

台灣現代劇場、六Ｏ至九Ｏ年代、身體、工夫實踐、修身技術、關照自我、人子劇團、優劇場、無垢舞蹈劇場、本土化、主體性

並列摘要

“Body” refers to both the concrete and the figurative semantics. The performance of body movements can be seen not only directly on stage, but also in the intrinsic layers included in abstract cognition. These intrinsic layers relate to the dimensions of life. Therefore, the theatre creators combine their body techniques of stage performance with their practice of “the care of the self” in life.

Antonin Artaud, for instance, regards his “theatre of cruelty” not only as the non-representational and presentational theatre, but also as life itself when the unrepresentable essence of life considered. Various ways of ascetic self-cultivation via the training of body techniques exist in Taiwan modern theatre. The Son of Man Theatre and the U Theatre both obtain their creative nutrients from Jerzy Grotowski’s artistry, which leads the U Theatre to the path of searching for the oriental body combining Tao and art. The Legend Lin Dance Theatre contemplates the link between life itself and the outside world, and creates the aesthetics of the ritual theatre.

Two important turning-points in the history of Taiwan modern theatre: the migration of the KMT government to Taiwan in 1949, and the lifting of martial law in 1987. Many discourses on the “modernization” of Taiwan theatre implicitly equate modernization with westernization, and regard the latter as the sole force worthy of serious discussion. History, however, does not move along a straight line. It includes zigzags, spirals, and strong recoil forces calling for “return.” Christopher Innes, for instance, regards the “primitivism” as one of the motives to initiate theatrical experimentations. He also points out that the form of returning to the primordial and the scientific character of modernity are not mutually exclusive.

The dissertation utilizes “body” in the observation for the technology of the self. It defines the duality of “body”: the formation of turning from the outside to the inward, and the transformation of the self towards the establishment of the subject. It verifies further the pursuit of the self in the “localization” movement launching from the late 1980’s in Taiwan. It, in addition, applies the concept of treating the technology of body as the practice of self-cultivation in the review of Taiwan modern theatre from the 1960’s to the 1990’s, to identify how it searches for its unique subjectivity with its own historical experiences of the body.

並列關鍵字

Taiwanese modern theatre, 1960s to 1990s, sis, Practice of SeBody, Askelf-Cultivation, Care of the Self, The Son of Man Theatre, U Theatre, Legend Lin Dance Theatre, localization, subjectivity

參考文獻

紀蔚然 (1998)《也無風也無雨》。台北：元尊。

唐君毅 (2005)《說中華民族之花果飄零》。台北：三民書局。

(2006) 《中國現代戲劇的兩度西潮》。台北：聯合文學。

張君玫 (2012)《後殖民的陰性情境：語文、翻譯和慾望》。台北：群學。

(2011b) 《台灣新文學史》。台北：聯經。