意／Impulse的鍛鍊：三探史坦尼斯拉夫斯基的「身體行動方法」

An Actor's Work on His Will/Impulse: The Third Adventure into Constantin Stanislavski's Method of Physical Actions

鍾明德(Ming-Der Chung)

史坦尼斯拉夫斯基 ； 體系 ； 身體行動方法 ； 瑜珈 ； 葛羅托斯基 ； Constantin Stanislavski ； System ； Method of Physical Actions ； Yoga ； Jerzy Grotowski

戲劇學刊

24期（2016 / 07 / 01）

171 - 195

繁體中文

史坦尼斯拉夫斯基在《演員自我修養》中強調：每一個人都擁有「知識」、「情感」和「意志」三股內在驅力，可以被用來統合演員的各種身心元素和技術以進入「最佳表演狀態」。他的「體系」因此發展出各種掌握知、情、意的方法來協助演員創作角色。史氏的知、情、意說法跟腦神經醫學專家的「三重腦」模型不謀而合：人腦本身即包含了最核心的爬蟲類腦（職司「運動之流」）、舊哺乳類腦（職司「情感之流」）和新哺乳類腦（職司「思想之流」），此三種腦的密切合作才能有效地執行人的各種「最高任務」。史氏一生在表導演上的創新實驗可以知、情、意來分成三大階段：第一階段以「知識」的方法為主，如史氏手書的《海鷗導演計畫》所示。第二階段史氏著力在「情感」的工作上，發展出影響後世極大的「情感記憶」方法。第三階段，此時史氏已經是七十上下的老人了—他提出了「身體行動方法」，認為相對於「知識」的侷促和「情感」的任意，「身體行動」才能有效地讓演員「活角色的生」。史氏開創的「身體行動方法」跟他所關心的「意志」或「脈動」的鍛鍊密切相關，但是，卻來不及讓這個新方法真正地開花結果。蘇聯將史氏的「體系」化為社會寫實主義的樣板，美國則以自己的個人主義將史氏簡化為「方法演技」；二者都忽略了史氏對瑜珈和非寫實主義的關心。一直到1965年，在波蘭導演葛羅托斯基的指導之下，奇斯拉克在《忠貞的王子》演出中達到了「脈動與行動」合流的「最佳表演狀態」，讓觀眾見識到「意／Impulse的鍛鍊」奇蹟，同時證實了「身體行動方法」的無窮魅力—這正是史氏的「體系」對21世紀的演員所帶來的福音。

Constantin Stanislavski writes in An Actor Prepares that man has three inner motive forces-thought, feeling and will-at his command to conduct all the psychophysical elements and techniques. His ＂System＂ has indeed developed various means, such as ＂roundtable play reading and analysis＂ (method of thought), ＂affective memory＂ (method of feeling), and ＂method of physical actions＂ (technique of will) to help the actor fulfill his calling. Stanislavski's theory of ＂three inner motive forces＂ is paralleled by the ＂triune brain＂ model as propounded by the neurobiologist Paul MacLean, who claims that the human brain consists of the reptilian complex (vertebrate forebrain, in control of the stream of movement), the paleomammalian complex (limbic system, in control of the stream of feeling), and the neomammalian complex (neocortex, in control of the stream of thought). By the time Stanislavski advanced his Method of Physical Actions during the 1930's, he was an old man in his seventies and could not bring his vision to bear true fruit. Neither the Russian social-realist dogmatization of the System nor the American individualist appropriation of the Method had played fair to the multivalent Stanislavski; the influence of Yoga, for example, was collectively and unconsciously neglected. This paper further examines the Yoga trace of the impulse in Stanislavski's Method of Physical Actions and concludes that it culminates in the 1965 production of The Constant Prince, directed by the Polish director Jerzy Grotowski, whose work on physical actions focused on the cultivation of the ＂impulse＂ to achieve the goal that ＂the impulse is already an outer reaction.＂ Seen in the yogic light of working on oneself, the potentials of the Method of Physical Actions are far from exhausted and the Stanislavski System will prove its lasting value for future performers to come.

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