過度／過渡從感動的身體、赤裸的身體到奉獻的身體

Excess/Passage from the Affective and Athletic Body, the Naked Body, to the Body as Gift

〈情感動能〉（”An Affective Athleticism”）是亞陶（Antonin Artaud）《劇場及其複象》（The Theatre and Its Double）一書中不太起眼的篇章。一共才10頁左右，文中亞陶並未進一步闡釋他極力主張的殘酷劇場，他所談的是較為一般人所忽略的議題，亦即演員的情感動能。演員對亞陶而言就宛如一位運動員，但有別於一般運動員，演員擁有內在情感的層面，「是一個有心的運動員」。亞陶認為演員有一種「具有情感的肌肉組織」，而如幻影與幽靈般的情感動能便是由肌肉組織發散出來，而非由理性思考所控制主宰。對亞陶而言，情感既是生理肌肉動作的複象，也是有著「長長記憶」的劇場魅影。這記憶也是心的記憶，透過一顆情感豐沛的心，演員思考、演出。也因著魅影，鬼影幢幢的劇場是一個有情的世界，一個帶有身體物質性的情感世界。演員的訓練便是去學習妥善運用身體性與物質性的情感力量，將之發揚光大並發揮其療效。亞陶舉中國的針灸為例，認為身為演員的首要任務便是去陶養充沛的情感，找出情感在身體的穴位，打通情感的任督二脈，讓熱情洋溢的身體肌肉顫動。唯有這樣，演員才能帶領觀眾進入魔幻般的心醉神迷狂喜狀態。
從感動的身體、赤裸的身體到奉獻的身體，本論文從亞陶「情感動能」的觀點出發，探討形塑感動的身體的法門與理論。接著論文參酌謝喜納（Richard Schechner）的「環境劇場」理論及相關的人類學、表演學與批評理論來回顧、思索並討論謝喜納在價值觀劇烈變動的60年代末期所製作的《戴神69》（Dionysus in 69）演出。此劇以尤瑞底匹斯（Euripides）的《戴神的女信徒》（The Bacchae）為藍本改編而成，但整個演出的重點不在文本，而是在身體、肢體動作與即興創作。在《戴神69》演出裡，裸體與情感融合，是新道德信念的宣言，更是新劇場美學與感官經驗的赤裸呈現。裸體的展演與性解放一向密不可分，在重新界定表演尺度的同時，也重新定義觀眾與演員的關係，突顯肉體感官經驗的獨一性。除此之外，論文也將援引葛羅托斯基（Jerzy Grotowski）的「總體的演出」（total act）概念來討論如禮物般地奉獻的身體。論文的焦點著眼於葛氏對謝喜納與「表演團體」的影響與啟發，同時也進一步探討「身體即禮物」的概念如何在《戴神69》裡體現。

”Un Athlétisme affectif” (”An Affective Athleticism”) is a minor chapter in Antonin Artaud's Le Théâtre et son double (The Theatre and Its Double). It has altogether some 10 pages. In this particular chapter, Artaud does not elaborate on the theatre of cruelty. What he focuses on instead is the often ignored topic, that is, actor's affective athleticism. For Artaud, an actor is very much like an athlete. And yet unlike an ordinary athlete, an actor has an inner affective dimension and ”is an athlete of the heart.” He thinks that an actor has an ”affective musculature” and the phantom-like affective athleticism is radiated from the musculature and is not dominated by rational thinking. As Artaud suggests, affect is at once the double of muscular movements and the phantom of the theatre which has ”a long memory.” This memory is the memory of the heart. An actor thinks and acts through an affectionate heart. Because of this phantom-double, the haunted theatre looms into a world where affect and bodily materiality co-exist. The main purpose of actor's training is to master the way of exerting this material affective power and thereby extending its therapeutic efficacy. Taking Chinese acupuncture for an analogy, Artaud thinks that the main task of an actor is to cultivate bountiful affects, to locate affective acupuncture points in the body, to streamline the channels of affect, and to let the passionate body quiver with affectivity. This is the reason why an actor can lead the audience into the magical trance ecstasy.
From the affective and athletic body, the naked body, to the body as gift, this paper sets out from the Artaudian perspective of ”affective athleticism” and explores the methods and theories that shape the affective and athletic body. It then reflects on, ponders over, and deals with Schechner's production of Dionysus in 69, created in the drastic value-shift time of the 60s. Based on Euripides's The Bacchae, the production deviates from the original script and emphasizes more on the body, physical movements and improvisations. The naked body and affects coalesce in the production of Dionysus in 69, which proclaims the new creeds of ethics and is the naked manifestation of the new theatre aesthetics and sensory experiences. The presentation of the naked body in the theatre is often linked with and propagated by sexual liberation. While redrawing the boundaries of nudity in the performance, the production of Dionysus in 69 redefines the relationship between the audience and the performers and distinguishes the singularity of sensory experiences. In addition, the paper draws on Grotowski's notion of ”total act” to illustrate the idea of the body as gift. It focuses on examining the way Grotowski impacts and inspires Schechner and his Performance Group and it explores how the notion of the ”body as gift” is played out in the production of Dionysus in 69.