淺談卡繆（誤會）三幕劇探討身心合──表演方法應用於表演訓練;教學之中

A Discussion on the Application of Psychophysical Acting in Albert Camus’s Le Malentendu to Students’Performing Training

此文的身心合一表演方法以史坦尼斯拉夫斯基體系、葛羅托夫斯基訓練、菲利普．薩睿立表演方法及加上研究者之表演背景為訓練基底，探討身心合一表演訓練於演出《誤會》之教學實例。在研究動機中可以瞭解筆者為何運用這樣的方法與表演者工作，接著概略的介紹史氏表演體系、葛式技巧、薩睿立表演方法以及現代舞的瑪莎．葛蘭姆技巧。進而論述運用身心合一表演方法製作卡繆《誤會》三幕劇之戲劇演出及舞蹈演出的過程。最後檢視此表演訓練方法對於青年表演者之影響。

In this research, the performance method of Psychophysical Acting is based on the Stanislavsky’s system, Grotowski’s method, Phillip Zarrilli’s Psychophysical Acting and the author’s performance background. The paper explores the performance training of Psychophysical Acting illustrated in Albert Camus’s “Le Malentendu” as a teaching project. In the motivation part, the author states why she uses this training to work with performers, and then briefly introduces the Stanislavsky’s system, Grotowski’s method, Zarrilli’s Psychophysical Acting, and modern dance of Martha Graham’s techniques. Furthermore, it discusses the process and results of the play and dance of Albert Camus’s three-act play “Le Malentendu” using the performance method of Psychophysical Acting. Finally, the author examines the impact of this acting training on young performance.