身體書寫戲劇：穆努虛金表演美學

Mnouchkine’s Performing Aesthetic: The Body Writing Theater

法國當代劇場導演穆努虛金（Ariane Mnouchkine）率陽光劇團（Théâtre du Soleil），以即興喜劇（commedia dell’arte）與即興表演（improvisation）之集體創作（création collective），兼納東方戲劇多元表演文化交融激盪，離卻西方戲劇寫實框架，不拘泥於語言及心理，以身體意象及舞台表演語彙，尋求並建立創新且新穎的表演形式。本文以穆努虛金表演美學為研究主軸，瞭解其集體創作理念與歷程，開放劇本文本／演員身體／舞台空間等劇場元素的創作可能性；汲取東方戲劇元素，透過轉移，轉形／轉換，而完成創造與創新。本文同時釐析辯證自史塔尼斯拉汶斯基（Constantin Stanislavski）以降所建演員表演體系／理論，交綜探討穆努虛金與亞陶（Antonin Artaud）殘酷劇場（Théâtre de la cruauté）「心靈運動員」及葛羅托斯基（Jerzy Grotowski）貧窮劇場（Théâtre pauvre）「神聖演員」（acteur saint）之身體／情感辨義，體現身體／情感、可見／不可見的相依／獨立特性；釐清介／界於「外在─身體─形式」與「內在─情感─狀況」之身體書寫情感／身體書寫戲劇之美學價值。

Ariane Mnouchkine, a contemporary French stage director, leads Theatre of the Sun (Théâtre du Soleil), and utilizes the performative styles of collective creation (création collective) of comedy of craft (commedia dell’arte), and of improvisation. His work intersperses various elements of Eastern dramas to agitate multicultural presentation, while detaching itself from the realistic descriptive tradition of Western drama. Mnouchkine’s performances are not constrained by language and psychological description, but utilize body images and the specific languages of stage performance, in order to seek and establish innovative, original forms of performance. This research primarily focuses on Ariane Mnouchkine’s aesthetics of performance and intends to realize the concept and process of his collective creation, to facilitate more creativity in the script, actors’ bodies and stage space, as well as other theatrical elements. Mnouchkine’s aesthetic performance has also adopted Eastern theatrical elements, through transferring and transforming processes, to create and innovate novel forms of stage performance. Moreover, the research also analyzes and clarifies the polemic relationship of the performative system with theories from the period of Constantin Stanislavski; meanwhile, it investigates the polemic meaning of bodies and emotion in Antonin Artaud’s Theatre of Cruelty, as well as in Jerzy Grotowski’s Poor Theater, in order to realize the visible, dependent as well as the invisible, independent features of the relations among bodies and emotions. It finally defines and clarifies the aesthetic value of bodies describing emotion and of bodies describing dramas in the forms of “externality-bodies-formulation” and “internality-emotion-condition.”