法國導演安端．維德志以「演員的劇場」一詞來界定自己畢生的志業，他意在強調演員的表現方為演出的重頭戲。他的演員氣質特殊、創意十足、能量充沛、演技精確，劇評家無以名之，逕稱之為「維德志型的演員」，他們是今日耀眼的明星。不過，究竟何謂「維德志型的演員」卻眾說紛紜。本文從導演本人的師承論起，繼之探討維德志教表演／排戲的理念、原則、方法以及表演追求的境界，並以維德志本人的演技為例加以分析，最後論及「易符里戲劇工作坊」與「夏佑劇校」創辦的理念與課程安排，期能深入理解維德志培育演員之道。維德志讓學生從模仿的表演傳統中得到解放，又不至於為了凸顯原創性而不惜任何代價地標新立異，最終鵠的則是實現劇作文本的潛在可能性，培育一位能創造的藝術家，這是他對演員的定義。

French director Antoine Vitez used to define his theatrical practice as « Actors’ Theatre ». Indeed, his actors, energetic, creative and precise in performance, attract all attention of the audience. The critics, short of accurate terms to describe their unusual temperaments, named them directly “Vitezian actors”. But what this term exactly means has never been fully examined. To answer this question, this paper starts with Vitez’ own training as actor with Tania Balachova, following his reflections on acting from reading Stanislavski, Brecht as well as Meyerhold, then proceeding with the discussion of his principles, methods and objectives of coaching acting. Vitez’ playing of Judge Pelage in The Satin Slipper (Le soulier de satin, Paul Claudel) will be analyzed as example. To inspire actors’ creativity through “maieutics” was Vitez’ philosophy of pedagogy, through which he helped actors fulfill their conscious and unconscious intentions of incarnation in order to reach an extra-ordinary, artistic level of performance. He actually freed actors from following traditions of interpretation, yet he did not foreground originality by all means. His ultimate objective was to realize the full potentialities of texts through creative artists, i.e., actors.

安端．維德志；演員培訓；路易．儒偉；史坦尼斯拉夫斯基；巴黎「國立高等戲劇藝術學院」

Antoine Vitez；actor training；Louis Jouvet；Stanislavski；Conservatoire national supérieur d’art dramatique de Paris