讓身體開光—論薩睿立身心合一演技訓練法中的印度配方

When the Body Becomes All Eyes: A Critical Study of the Indian Formula in Phillip Zarrilli's Psychophysical Acting Training Method

10.6257/JOTS.202407_(34).151

蘇子中(Tsu-chung SU)

薩睿立 ； 身心合一演技訓練法 ； 印度 ； 身體開光 ； 體現實踐即研究 ； Phillip Zarrill ； psychophysical acting training method ； India ； the body becomes all eyes ； embodied practice as research

戲劇研究

34期（2024 / 07 / 01）

151 - 191

繁體中文;英文

菲力普．薩睿立（Phillip Zarrilli）以其身心合一演技訓練法和表演法聞名於世。作為劇場藝術家和學者，他的生涯跟印度有著不解之緣。一九七六到七七年間，他開始學習印度傳統卡塔卡利舞劇，在機緣的帶領下，一九七七年開始接受卡拉里帕亞特印度武術的訓練。從此他固定回印度喀拉拉邦接受進階訓練，在一九七七和一九九八年間，他陸陸續續花了合計約七年的時間在印度精進自己的武藝。薩睿立擁有多重身分，既是戲劇學者、劇場導演、演員、演員培訓師，還是如假包換的武術家。瑜伽、卡塔卡利舞劇和卡拉里帕亞特武術究竟有什麼魅力，讓薩睿立一頭栽進去，辛苦操練並著書立說？是什麼樣的印度能量、表演理論或宗教思維啟發了薩睿立對正念與超覺意識的重視？正念與超覺意識在身心合一演技中扮演什麼樣的角色？瑜伽之道真的對轉化表演者的身心狀態與意識有助益嗎？他運用了什麼樣的阿育吠陀醫藥知識來支持他的體現實踐和研究？又他採用了什麼樣的卡塔卡利舞劇和卡拉里帕亞特武術的技藝來發展他所力推的身心合一演技？本論文旨在探討薩睿立身心合一演技訓練中的印度配方，論文從追溯並交代薩睿立的印度淵源開始，討論薩睿立學習卡塔卡利舞劇和印度武術卡拉里帕亞特的過程，探索並研究鍛造薩睿立身心合一演技和相關理論的印度源頭與知識。接著論文探究表演能量學和「身體開光」的表演境界。最後，論文評估與批判薩睿立理論與實踐的林林總總，也聚焦討論薩睿立的兩個劇場製作—《九面芙烈達》和《貝克特計畫》—的部分細節，最後評估並檢視身心合一演技訓練方法的有效性。

Phillip Zarrilli is world-famous for his training and acting method for psychophysical acting. As a theater artist and scholar, his career is closely related to India. From 1976 to 1977, he began to learn the traditional Indian dance drama Kathakali. Led by chance, he began to receive the training of the Indian martial arts called Kalaripayattu in 1977. From then on, he regularly returned to Kerala, India, for advanced training. Between 1977 and 1998, he spent a total of seven years in India to improve his martial arts skills. Zarrilli has multiple identities: he is a drama scholar, theater director, actor, actor trainer, and a true martial artist. What is the charm of yoga, Kathakali and Kalaripayattu that made Zarrilli plunge right into laborious training and write books about them? What kind of Indian energy, performance theory, or religious thinking had inspired Zarrilli to put emphasis on mindfulness and heightened consciousness? What role do mindfulness and heightened consciousness play in psychophysical acting? Does yoga really help transform a performer's psychophysical state and consciousness? What knowledge of Ayurveda did Zarrilli use to support his embodied practice and research? And what kind of Kathakali and Kalaripayattu techniques did he employ to develop his psychophysical acting? The purpose of this paper is to explore the Indian formula of Zarrilli's psychophysical acting training. The paper starts from tracing and explaining Zarrilli's Indian origins, and discusses his learning process of Kathakali and Indian martial art Kalaripayattu. We also examine and study the Indian sources and knowledge that shape Zarrilli's psychophysical acting skills and related theories. The paper then delves into the energetics of performance and the performative realm of "the body becomes all eyes." Finally, the paper evaluates and criticizes Zarrilli's various theories and practices, and focuses on addressing Zarrilli's two theater productions-The 9 Fridas and The Beckett Project-and assessing the effectiveness of the psychophysical acting training method.