葛羅托斯基早期編導演理念初探——以展演《沙恭達羅》一戲為例

A Preliminary Study of Jerzy Grotowski’s Early Thoughts about Dramaturgy, Directing, and Acting—Using the Production ofŚakuntalāas a Case Study

1959年5月，葛羅托斯基（Jerzy Grotowski）接受當時在波蘭極富盛名的劇評家與理論家弗拉森（Ludwik Flaszen）的邀請，擔任新成立位於奧坡雷市（Opole）規模極小名為「十三排劇坊」（Theatre of 13 Rows）的劇場實驗室擔任導演、藝術總監和共同創辦人。葛氏選擇將印度古梵文作家迦梨陀娑（Kālidāsa）的作品《沙恭達羅》（Śakuntalā）納入1960／61年表演季的演出劇碼。《沙恭達羅》一劇的故事擷取自印度史詩《摩訶婆羅多》（Mahabharata），劇情鋪陳少女沙恭達羅與國王豆扇陀（Dushyanta）間曲折的愛情故事，此戲除獲得廣泛的讚揚，也被視為傑作。唯在製作此戲時，葛氏並未照本宣科，不但大幅刪改原著，刻意引用《摩奴法典》（Laws of Manu）和《慾經》（Kama Sutra）中的經文。在舞台設計上，葛氏也銳意創新，甚至還建置現代感十足的露骨陽具舞台裝置。本論文以《沙恭達羅》一戲的製作為案例，其目的在探究葛氏早期的編導演理念，並試圖理解這些理念如何形塑他的演員訓練方法和表演理論。論文一開始探索並交代葛氏與印度教的深厚淵源，細究葛氏的初心與原型構想，並試圖揭開葛氏《沙恭達羅》製作的神秘面紗。文中除深入了解該製作的劇本改編情事、檢視該製作如何成為劇場實驗室和爾後貧窮劇場演員訓練的試金石、並演繹葛氏相當重視的演員與觀眾的關係。論文也聚焦探討該戲的舞台設計、服裝設計和表演風格，並深入闡釋濕婆神宇宙之舞作為葛氏劇場與生命典範的重要性。最後，筆者除針對《沙恭達羅》製作的創作理念與創新作法做批判性地分析與評估，也將綜合論述該劇所建立的範式與遺產。

In May 1959, Jerzy Grotowski accepted the invitation of Ludwik Flaszen, the renowned theatre critic and theorist in Poland, to serve as the company’s director, artistic director, and co-founder of a small theatre in Opole called the Theatre of 13 Rows. Kālidāsa’s Sanskrit playŚakuntalāwas chosen by Grotowski to be included in the repertoire of the 1960/61 Season.Śakuntalā, a story derived from the Indian epic the Mahabharata, delineates the troublesome romance betweenŚakuntalāand Dushyanta, King of Hastinapura. This play has received critical acclaim and is often regarded as a masterpiece. Grotowski, nevertheless, did not repeat the play when producing it. Instead, he revised the original work drastically and quoted passages from the Laws of Manu and the Kama Sutra purposefully. With regard to the stage design, Grotowski forged ahead and blazed new trails. He even constructed innovative stage sets which resembled a phallus. This paper uses the production ofŚakuntalāas a case study whose purpose is to explore Grotowski’s early thoughts about dramaturgy, directing and acting and to understand how these thoughts fashion his actor training method and performance theory. The paper, first of all, probes into Grotowski’s original intention and archetypal scheme, and attempts to reveal the mystery of the production ofŚakuntalā. Other than dealing with the issue of script adaptation, examining the reason why this production has become the touchstone of the theatre laboratory and later the actor training of the poor theatre, and exploring the actor-and-spectator relationship emphasized by Grotowski, this paper addresses the question of stage design, costume design, and acting style in the production. This paper also expounds the significance of the cosmic dance of Shiva which serves as the paradigm for Grotowski’s theatre and life. Lastly, this paper intends to critically analyze and assess the production’s creative thinking and innovative practice.