by Irene Chiang
在兩廳院所舉辦的「騷文意動—2004國際劇場藝術節」中，觀賞完承襲果陀斯基—史坦尼斯拉夫斯基傳統之波蘭山羊劇團所演出的《悲歌錄》之後，深感好久沒有看到如此有水準的演出。簡單的舞台，只有七位演員、幾張椅子和一張桌子，完全以團員們的吟詠、朗誦、舞蹈、詩歌、律動和肢體語言傳達關於吉爾迦美什王的蘇美史詩文本。
為了製作此新作，劇團花了兩年的時間進行田野調查（想想在歐洲玩藝術真幸福，幾乎都有政府補助），並且在曾為古希臘戲劇發源地的Epiros（希臘和阿爾巴尼亞之交界處），收集傳統的悲歌題材和繁複動人的複調對位吟唱。令人感興趣的是，根據節目單上的描述，該劇團發現「在悲歌中放聲的號哭，似乎成為一種生理上的釋放，並且可以在某些程度上有醫學治療的效果。」嗯，這不就是音樂/舞蹈/戲劇治療大融合嗎？
另外，我從以下網頁節錄和翻譯其中對於「貧窮劇場」的些許評論：
http://www.culture.pl/en/culture/artykuly/os_grotowski_jerzy
"In Poland there is a small company lead by a visionary, Jerzy Grotowski, that also has a sacred aim.
「在波蘭，有位名叫傑西‧果陀斯基的先驅，帶領著一個擁有神聖目標的小劇團。
The theatre, he believes, cannot be an end in itself; like dancing or music in certain dervish orders, the theatre is a vehicle, a means for self-study, a means for self-study, self-exploration, a possibility of salvation.
他相信，劇場非其自身之終結，誠如某些帶有狂舞苦修者傾向的舞蹈或音樂般，劇場是個自我研究的媒介，是自我研究、自我探索的方式，亦為救贖之可能性。
The actor has himself as his field of work. [...] Seen this way, acting is a life's work - the actor is step-by-step extending his knowledge of himself through the painful, ever-changing circumstances of rehearsal and the tremendous punctuation points of performance.
演員擁有自身的專業本領。[...]以此觀點來看，表演是一生的工作—演員按部就班地經過痛苦多變的預演狀況，和表演中精彩的停頓點，拓展其對自身的認知。
In Grotowski's terminology, the actor allows a role to 'penetrate' him; at first he is all obstacle to it, but by constant work he acquires technical mastery over his physical and psychic means by which he can allow the barriers to drop.
在果陀斯基的術語中，演員容許角色『滲透』自身；首先與角色充滿隔閡，但經由持續的工作，即獲得熟練的技巧，超越本身體能和心理的限制，使其能夠拋下原有的障礙。
'Auto-penetration' by the role is related to exposure: the actor does not hesitate to show himself exactly as he is, for he realizes that the secret of the role demands his opening himself up, disclosing his own secrets. So that the act of performance is an act of sacrifice, of sacrificing what most men prefer to hide - this sacrifice is his gift to the spectator. ' [...]
角色的『自我滲透』和表露有關：演員毫不遲疑地表現真實自我，因其明瞭角色的秘密需要他公開自身，揭露自己的秘密。所以表演行為就是犧牲行為，即犧牲多數人寧可隱藏的東西—此犧牲即為他給予觀眾的禮物。
Grotowski makes poverty an ideal; his actors have given up everything except their own bodies; they have the human instrument and limitless time - no wonder they feel the richest theatre in the world" (Peter Brook, "Pusta przestrzen" / "The Empty Space", Warsaw, 1977).
果陀斯基讓貧窮成為理想；他的演員們除了自己的身軀，可什麼都拋棄了；他們有的是人身工具和無止盡的時間—難怪他們感受到全球最豐富的劇場。」（彼得‧布魯克〔英國劇場/電影大師〕，《虛無空間》）
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