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題名 | 再探葛羅托斯基劇場實踐與理論=Revisiting Grotowski's Theatre Practice and Theory |
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作者姓名(中文) | 厲復平; | 書刊名 | 戲劇學刊 |
卷期 | 9 2009.01[民98.01] |
頁次 | 頁7-20 |
分類號 | 981 |
關鍵詞 | 葛羅托斯基; 貧窮劇場; 集體內省劇場; 消去法; 演員訓練; Grotowski; Poor theatre; Theatre of collective introspection; Via negativa; Actor training; |
語文 | 中文(Chinese) |
中文摘要 | 葛羅托斯基 (Jerzy Grotowski) 的劇場應該被瞭解為一個實踐與理論間的辯證過程,而非單純地只是他的「貧窮劇場」(Poor Theatre) 理念的直接實現。為呈現此一動態的辯證發展過程,本文將葛氏的劇場工作分為三個階段逐一探討。在第一個階段(1955-1960) 中,葛氏在其政治理想的脈絡下來思考其劇場理念,這一階段的葛氏劇場非常明確地企圖教誨觀眾以達成社會改造的目的,葛氏以梅耶荷 (Vsevolod Meyerhold) 劇場理念為師,嘗試各種在表演中直接影響觀眾的可能性。葛氏在第二階段 (1961-1963) 中以挑戰社會既定信念的方式來引起觀眾對演出的關注與反省。葛氏特別質疑形塑波蘭國家民族意識的救世主的信念,以此作為引發觀眾共鳴的施力點,並促使他們在劇場中進行集體內省,葛氏在這一階段建立起更為有系統的劇場實踐體系,是謂集體內省劇場 (Theatre of Collective Introspection)。然而此後的發展並非依循葛氏原先所設想的方向,在接下來的第三階段 (1964-1969) 中,持續的轉變貫穿整個實踐的核心,在演員訓練中所體悟出來的消去法 (Via Negativa) 使葛氏劇場實踐的手法、方向與美學皆有了內在質性的轉變。葛氏在1965年發表〈邁向貧窮劇場〉一文所展現出的是整個轉變階段中的一個切片而非全貌。在這個階段中,葛氏的關切重心持續地由在演出中促成觀眾的政治社會意識覺醒,傾斜至訓練活動對個人內在有機過程的啟迪,乃至於1969年後揚棄了劇場演出而專注於以訓練活動為藍圖所設計的新工作形式。 |
英文摘要 | To gain an insight into Jerzy Grotowski's theatre, it is crucial to understand his work as a dialectic process between practice and theory, instead of as a straight realization of his idea of poor theatre. It is to unveil this dialectic process that Grotowski's theatre work is divided into three stages in this thesis. During the first stage (1955-1960), Grotowski intended to achieve social reform through educating the audience in his theatre. He took Meyerhold's theatre as his model and experimented with various spatial arrangements to involve audience during performance. The second stage (1961-1963) can be summarized as the theatre of collective introspection, which was to bring together people in Polish society by means of challenging the concept of Messiah which closely relates to the identity of the nation. During the third stage (1964-1969), Grotowski adopted the method via negativa as the guiding principle in many aspects of his practice, and this constantly shifted his vision of theatre. In 1965, he published the renown "Towards a Poor Theatre". Yet, the idea of poor theatre merely portrays a slice of Grotowski's ever-changing work at this stage, and hence, is not comprehensive to the understanding of Grotowski's practice at the time. Towards the end of this stage, instead of inciting spectators' social-political awareness, Grotowski focused more on initiating the individual organic process during actor training. In 1969 he eventually started to devise new ways of working to pursue this latter goal at the cost of renouncing theatre performance as a whole, and it leads to a series of research projects thereafter. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。