鼓動下的寧靜與回響

2019年的中秋夜，優人神鼓在臺灣東北角的一場表演，點亮了塵封32年的十三層遺址，也喚醒黃金礦山百年來的靈魂記憶。優人在那一年並不順遂，遭逢更生人團員集體出走、在地質公園整地被罰、山上排練場燒毀的接連磨難。但這一晚優人仍從容自在上臺，用鼓聲傳遞出深遂與無所懼的生命力。到底是什麼樣的淬練，創造出這種力量？本論文以敘說探究法進行，研究範圍從優人神鼓1988年創團到2022年間，探究劇團發展的核心訓練、變化與影響。同時針對優人神鼓跨入國際化的經典作品《聽海之心》為文本，探討其創作與尋找聲音的過程，並從表演者的角度剖析作品的深度意涵。研究架構上，以2019年優人神鼓經歷火災後重返山林訓練為出發點，倒敘回優劇場時期，執行溯計畫尋找到哪些古老力量與傳統文化，由外而內建構起優人在技術與藝術上的底蘊；進入優人神鼓時期，為何又轉變成以打坐、打拳、打鼓「三打」為核心的訓練，且藉由哪些靜心方式實踐「道藝合一」，這時期被視為由內而外、再賦予表演藝術新的樣貌。此外，本論文以優人神鼓自2014年起進駐金瓜石為例，探究優人以藝術為媒介所做的在地關懷，透過表演、教學、參與民俗祭典，讓擊鼓與人、與歷史、與大自然對話，在不斷的磨合與融入中所帶來彼此的正向改變。我們從研究發現，優人神鼓的表演是從自我的內在覺知上出發、透過對生活與生命時時刻刻地覺察與鍛鍊，來提升藝術的層次、帶給觀眾超越時間與空間的美好想像及能量，而藝術的最終目的，也將體現在對生命與環境的觀照上，生生不息。

關鍵字

優人神鼓；聽海之心；果托夫斯基；道藝合一；點亮十三層

並列摘要

On the night of the Moon Festival in 2019, a performance by U-Theatre in the Northeast Coast of Taiwan not only light up 13 Layer Remains where have been covered by dust for 32 years, but also awakened the Gold Mines Mountain's soul, which has slept for a hundred years. However, the drum troupe had a difficult year then, experiencing a series of troubles including the exit of a group of ex-convict performers, receiving penalties for land grading in Jinguashih Geographic Park, and the blaze that burnt down its rehearsal room in mountains. In defiance of these headwinds, the performers stepped onto the stage calmly and peacefully that night, conveying fearless profound vitality with drumming. What kind of training creates this power? The approache this thesis takes is narrative inquiry. The research scope ranges from 1988,the founding year of the Theatre, to 2022, and explores the core strength, evolution and influence of the troupe. At the same time, based on the Sound of Ocean, the Theater's classic work, which has made it internationally famous, the thesis discusses how this renowned work was created and how the sounds were found. Also analyzed is the significance of the work from the perspective of performers. The research structure begins with the Theatre's return to the mountain for training after the 2019 blaze, and then narrate retrospectively to the early period the Theatre was founded when it discovered the power from the ancient time and traditional culture to build technical and artistic foundations from the outside in. After entering the phase of U-Theatre, it has developed the unique method to focus on meditation, martial art and drumming, so-called “Three Da” in Chinese. By means of these practices, the performers intend to achieve the status of "Tao and Art as One". This period was regarded as the phase in which its performance was given a new face by self-discipline from the inside out. In addition, this thesis studies how the U-Theatre used the art as a medium to engaged with and care for the local community since it relocated in Jinguashi in 2014. By way of performance, teaching and participation in folk activities, the troupe has conversated with people, history and nature through drumming. The positive changes were brought about by its continuous adaption and integration with the local community. The research finds that the performance of U-Theatre starts from the inner self-awareness , and enhances the level of art through the constant awareness and exercise of both living and life. Its performance also brought the audience wonderful imagination and energy beyond time and space. To the Theatre, the ultimate purpose of art will also be reflected in the observations on life and environment. The thunderous drums and peaceful minds of U-Theatre will be everlasting.