以印度作為媒介：論巴爾巴對劇場實踐和表演理論的傳播與貢獻

India as a Medium of Communication:A Critical Study of Eugenio Barba’s Dissemination and Contribution to Theatre Practice and Performance Theory

巴爾巴和印度有著深厚的緣分與淵源，他曾經出於不同的目的數度前往印度進行他個人的朝聖與印度劇場的追尋之旅。一九六三年七月上旬，他離開葛羅托斯基的「十三排實驗劇坊」，前往印度尋找「印度劇場」，遇到了令他驚艷的卡塔卡利舞劇，並將所見所聞寫入影響深遠的〈卡塔卡利舞劇劇場〉一文中，成為巴爾巴劇場人類學典範的濫觴。一九七九年巴爾巴創立了「國際劇場人類學學校」，啟動了他對劇場人類學相關議題的長期關注與研究。巴爾巴轉向印度所為何來？是為了異國情調或深奧的神祕主義嗎？卡塔卡利舞劇就是他要尋找的「聖杯」嗎？這「聖杯」能見證印度表演藝術的獨特性嗎？他所撰寫的〈卡塔卡利舞劇劇場〉一文和他爾後所發展的劇場人類學有什麼關連？又他的劇場人類學有什麼重要性？是否造成日後典範的移轉？對表演者和劇場人有意義嗎？本論文旨在追蹤並檢視巴爾巴所進行、經歷和實踐的各種與印度相關之旅行和計畫，並評估其後續效應。本文首先將檢視巴爾巴轉向印度的機緣，討論卡塔卡利舞劇作為劇場人類學典範的濫觴。接著藉著這個引子，進一步分析、探究與評估巴爾巴在第三劇場、歐亞劇場、劇場人類學和跨文化劇場等議題上的理論建構、劇場實踐和整體貢獻。

Eugenio Barba has adeep relationship with India. He has traveled to India several times for different purposes, including carrying out his personal pilgrimage and his quest for Indian theatre. In early July 1963, he left Grotowski’s Theatre of 13 Rows and went to India to search for Indian Theatre. He encountered the amazing Kathakali dance drama and wrote what he saw in his seminal article titled“The Kathakali Theatre,”which later became the paradigm of Barba’s theatre anthropology. In 1979, Barba founded The International School of Theatre Anthropology (ISTA), starting his long-term attention and research on issues related to theatre anthropology. Why did Barba turn to India? Is it for exoticism or esoteric mysticism? Is Kathakali the“holy grail”he’s looking for? Could this“holy grail”bear witness to the uniqueness of Indian performing arts? What is the relationship between his article“The Kathakali Theatre”and his later development of theatre anthropology? And what is the importance of his theatre anthropology? Will it lead to aparadigm shift in the future? Does it make sense for performers and theatre practitioners? The purpose of this paper is to trace and examine various India-related travels and projects undertaken, experienced and practiced by Barba, and to assess their subsequent effects. This article first examines the occasion for Barba’s turn to India, and discusses the Kathakali theatre as aparadigm of theatre anthropology. It then uses this example to further analyze, explore and evaluate Barba’s theoretical construction, theatre practice and overall contribution on issues such as the third theatre, Eurasian theatre, theatre anthropology, and cross-cultural theatre, etc.