英文摘要
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In 1970, to the shock of his followers, the trail-blazing theatre director Jerzy Grotowski (1933-99) bid farewell to theatre. He was acclaimed by many Western theatre practitioners as the savior of contemporary theatre, but to him words such as ”theatre” and ”audience” were long dead. Although he stopped directing theatre works since this period, the theatre world continued to pay close attention to his post-theatre explorations such as ”Paratheatre” (1970-78), ”Theatre of Sources” (1976-82) and ”Art as vehicle” (1986-99). When discussing or writing about Grotowski, theatre scholars and artists, as a rule, look to him as a theatre professional even though this might not have been the reality. I will attempt in this paper to examine Grotowski's works mainly from the perspective of ”spiritual research,” the approach he had taken since he was a child but had refused to acknowledge in most of his public discourses. The following three conclusions are argued and substantiated: 1) all of Grotwski's research is essentially spiritual; 2) the ultimate goal of his research is no less than total release (moksha), which, in my own working terms, is best expressed as ”total awareness”; 3) the Method of Physical Action is adopted and modified by him through all phases of his spiritual research. Although the ”Art as vehicle” was never completed, the author of this paper, with the help of the Vipassana method as transmitted by Lungpor Thong, has discovered both the goal and the methodology Grotowski proposed for his final project enlightening and feasible.
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参考文献
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