| Summary: | 碩士 === 國立臺灣藝術大學 === 戲劇學系表演藝術碩士班 === 102 === In the contemporary thinking of performing arts, the authority of interpretation is gradually shifting from the provider (such as creator, performer, etc.) to the receiver (such as audience, critic, etc.). In other words, neither creator’s theory nor performer’s explanation is the only interpretation of the work. Audience’s own aesthetic attitude and taste, which no doubts involve closely during the process of appreciating, are also influential. From the receivers’ point of view, what they receive from a work of performing arts is not always the same as what its creator or performer claims.
The concept of “Combination of Tao and Skill” is claimed to be the central spirit of the established U-theatre. The group follows the idea of Zen faithfully and fulfils it into their practice. Their 1st Annual Taishin Arts Award winning work, Meeting with Bodhisattva is perhaps a best new example of that. The work, as the U-theatre claims, is not only a presentation of their “Combination of Tao and Skill” mentality, but also a meaningful step into the Buddhist practice. However, can audience without religious belief and aesthetic understanding can really sense such “abstract” idea and enjoy the performance?
While most current studies and reviews are focusing on U-theatre’s “Combination of Tao and Skill” concept and the group’s well-respected mentor Jerzy Grotowski’s theater theory, this study, on the other hand, attempts to explore the unrevealed interpretation of the receiver. Using ancient Chinese scholar Ji Kang’s Sheng Wu I Le Lun (Sound Has No Sorrow and Joy) as a basis, this study discusses how U-theatre’s interpretation of Meeting with Bodhisattva could be preceived differently by the audience. Moreover, through the analysing of the work and its contextual background, this study also suggests a possible aesthetic approach for the audience, to the so-called “Combnation of Tao and Skill”.
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