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Bodies That Matter: How Does a Performer Make Himself/Herself a Dilated Body?

事關緊要的身體:表演者如何替自己打造一個擴張的身體?

摘要


身體是甚麼?是人有機組織所有物質或身體結構的總和?是相對於精神/心智/靈魂的肉體?是組織、器官或身體狀態無止境的交織重疊,且每一種身體狀況都是一個或多個刺激脈動的整合?是力量間的關係?是語言的儲藏地?是事件的刻印表象?是後結構主義的論述場域?那擴張的身體又是甚麼?表演者如何替自己打造一個擴張的身體?為什麼身體的擴張會讓身體陷入險境?對身為導演、理論家和歐丁劇場創始者的尤金諾.芭芭而言,身體是一能量的網絡。表演就是去擴張身體和去運用整個身體的能量。表演者身體技藝的秘密就是去擴張整個「身體的動能」。芭芭不僅提出關於表演者秘密藝術的真知灼見,也提供我們一擴張身體的詩學。擴張的身體是一不斷增強擴大的場域,且涵蓋整個能量場域。只有在表演者能擴張自身身體的情況下,表演者「最終也才能夠開拓觀眾的知覺」。本論文的目的在探索芭芭關於打造擴張的身體的理論建構。論文的靈感與洞見源自於亞陶「無器官身體」的概念,並進一步受到德勒茲和瓜達里對此概念詮釋的啟發。論文首先將討論「無器官身體」概念在亞陶與德勒茲和瓜達里相關著作的潛在意義與重要性。接著論文將檢視芭芭「擴張的身體」概念的理論建構,探討諸如能量概念、演員的技藝和劇場人類學領域等相關的想法與議題。論文也將借重幾位身體概念思想家的論述來剖析芭芭「擴張的身體」概念的理論意涵。

並列摘要


What is a ”body”? The entire material or physical structure of a human organism? The flesh as opposed to the spirit/mind/soul? An endless weaving together of singular tissues, organs, or states, each of which is an integration of one or more impulses? A relation of forces? The reservoir of language? The inscribed surface of events? The discursive site of poststructuralism? What then is a dilated body? How does a performer make himself/herself a dilated body? Why does the dilation of the body put the body at risk? For Eugenio Barba, director, theorist, and founder of the Odin Teatret, the body is a network of energy. To act is to dilate the body and engage the entire body's energy. The secret of the performer's body technique is to dilate ”the body's dynamics.” Barba not only gives us an insight into the performer's secret art but also provides us with a poetics of the dilated body. The dilated body is a site which expands itself and encompasses the whole field of energy. Only under the circumstances that a performer can dilate his/her body can he/she ”consequently also dilate the spectator's perception.” The purpose of this paper is to explore Barba's theoretical formulation bearing on the making of a dilated body. This project gains its insights from Artaud's notion of the ”Body without Organs” and is further inspired by Deleuze and Guattari's interpretation of the notion. Thus, before anything else, it purports to discuss the potential meanings and significance of the ”Body without Organs” in Artaud's as well as Deleuze and Guattari's discourse. Then, it will examine Barba's theorization of ”the dilated body” and its related ideas, such as the notion of energy, the craft of the actor, and the discipline of theatre anthropology. Meanwhile, this paper proposes to analyze Barba's theory of the dilated body along with other critical thinkers of the body such as Spinoza, Butler, Foucault, Nietzsche, Grotowski, etc.

參考文獻


Artaud, Antonin,Richards, Mary Caroline(trans.)(1958).The Theatre and Its Double.New York:Grove Weidenfeld.
Barba, Eugenio(1985).The Dilated Body Followed by the Gospel According to Oxyrhincus.Rome:Zeami Libri.
Barba, Eugenio(ed.),Savarese, Nicola(ed.),Fowler, Richard(trans.)(2005).A Dictionary to Theatre Anthropology: The Secret Art of the Performer.London:Routledge.
Barba, Eugenio,Fowler, Richard(trans.)(1995).The Paper Canoe: A Guide to Theatre Anthropology.New York:Routledge.
Barber, Stephen(2002).Artaud: Blows and Bombs.London:Creation Books.

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