亞陶演員訓練體系初探：中醫、氣、陰陽與卡巴拉

Abstract

演員，身為「完全劇場」一角，鋒芒如其他舞臺元素般平穩地呈現，並未分外突顯。當代主流的寫實、後戲劇與導演劇場裡，變幻莫測的文本及導演手法，促使演員追求更多技巧性的實戰方法。曾幾何時，演員將關照自我與萬物的排序往後挪動，成為身懷絕技，卻不易實在與諸物眾生連結的工具型角色。 亞陶作為完全劇場與導演劇場之濫觴，以實作操演述說自身如何成為一位「完整之人」。莫可奈何的是，此獨到的演員觀未被直接地討論，而是以旁敲側擊的方式，於理論、演出成品的表導演維度，或其他戲劇家的視角來窺看。若要直探亞陶的訓練核心，須揭開〈情感運動員〉與〈瑟拉凡劇團〉之面紗，透過翻找秘密之下顯露的中醫及卡巴拉，貼近亞陶與演員、文化的牽纏。 中醫對心的看重如亞陶「心靈運動員」之論述，對身的著重如亞陶「手勢／姿勢」之偏好。演員訓練時，藉由操縱氣來運行能量，同時調節身體、情感及心靈狀態，輔以針灸施作，並透過陰陽運作，達至動態平衡。進入「自省」，以中性承載「無」與「無限」，成為有著「容器」的演員。此可聯想至卡巴拉「無」與「無限」的哲學觀，而雌雄同體和中柱振動亦能與中醫及亞陶契合。可惜的是，作為卡巴拉實作的生命之樹與冥想，側重腦及意識，非亞陶欲企及之處。 不容置疑，亞陶論點以顛覆及開放性的魅力成後人啟發或挪用的對象。時序倒回1960年代的臺灣，《劇場》將亞陶奉於高位，而小劇場蓬勃的1980年代，亦有不少創作者被冠上亞陶殘酷劇場之名。田啓元時期的臨界點劇象錄雖以獨有的身體表現而榜上有名，氣的方面卻甚少受矚目。若深入探尋，能見中醫啟發的《平方》利用氣引導身體動作，輸出非口語語言的「囈語」聲音，以「空」串聯萬物，同時開啟「直面」的可能，如與亞陶進行穿越時空的交流。 體系，並非亞陶絕緣體。亞陶的雙重性特質彰顯於其主張破除經典，仍鼓勵他人對中醫與氣做延伸研究。本文以史坦尼斯拉夫斯基《演員自我修養》架構為啟發，力圖將亞陶的實作論點化為觸發演、觀、萬物間溝通與交融的實戰訓練。

In “Total Theatre,” actors are often considered to be one of the many theatrical elements in a stage performance, thus seldom being specifically analyzed. In contemporary mainstream artistic forms from realism, post-dramatic theatre, and director-centered theatre, actors respond to the ever-shifting nature of texts and directorial strategies by adopting increasingly technical and pragmatic methods. However, in doing so, they often deprioritize an awareness of the self and of the real-life surroundings, resulting in performers who are highly skilled yet struggle to form meaningful connections with others. As a pioneer of both the Theatre of Cruelty and director-centered theatre, Antonin Artaud conveyed his journey towards becoming a “total man” through a practical experimentation. Nevertheless, this distinctive perspective on acting has rarely been addressed. Scholarly discussions have instead tended to focus on theoretical frameworks, performances, directorial approaches, or interpretations through the lens of other theatre practitioners. In order to examine the core of Artaud’s training philosophy, it is necessary to explore “Un Athlétisme affectif” (“An Affective Athleticism”) and “Le Théâtre de Séraphin” (“Seraphim’s Theatre”), and to trace the intertwined influences of Traditional Chinese Medicine (TCM) and Kabbalah. Such approach can help us understand the complex relationship among Artaud, the actor, and culture itself. The importance that TCM places on the “heart” represents Artaud’s idea of the “athlete of the heart,” while its focus on the body parallels his preference for “gesture.” In actor training, the controlled circulation of qi is used to mobilize internal energy while simultaneously regulating the physical, emotional, and spiritual states. Acupuncture is applied when necessary. Through the dynamic interaction of yin-yang, actors achieve energetic balance and enter into a state of “introspection” (自省), working from a neutral condition that engages with both “vacuity” and “infinity,” thereby becoming a vessel-like presence. This idea corresponds to the Kabbalistic concepts of Ain (negation) and Ein Sof (infinity). Notions such as androgyny and the Middle Pillar exercise also resonate with both TCM and Artaud’s theoretical frameworks. However, the practical techniques of Kabbalah, including the Tree of Life and meditation, have a relative emphasis on the brain and consciousness, which lie outside the primary focus of Artaud’s practice. There is no doubt that Artaud’s theories, which are simultaneously subversive and open-ended, have continued to inspire and be appropriated by subsequent generations. In Taiwan, the magazine Theatre Quarterly (《劇場》) elevated Artaud’s stature during the 1960s. During the thriving Little Theatre movement of the 1980s, many creators were labeled as heirs of Artaud or practitioners of the Theatre of Cruelty. Under the leadership of Tian Chi-yuan (田啓元), Critical Point Theatre Phenomenon (臨界點劇象錄) became known for its unique use of physical expression, although its application of qi was rarely examined. Closer analysis reveals that the 1993 production Breathing (《平方》), which was inspired by TCM, guided bodily movement through the flow of qi, generating a non-verbal vocality referred to as “babbling” (囈語). This performance practice enabled all stage elements to be unified through the concept of “emptiness” and opened up possibilities for “direct confrontation,” as if the entire production were communicating across time and space with Artaud himself. Artaud’s philosophy is not inherently incompatible with structured systems. His dual nature, characterized by a rejection of classical texts yet an encouragement of deeper engagement with TCM and qi, highlights this complexity. Drawing upon the structure of Stanislavski’s An Actor Prepares, this essay seeks to transform Artaud’s performative insights into practical training methods that foster communication and integration among the performer, the spectator, and the world at large.