本文旨在論述高行健三重性表演的實踐方法，尤其著重探討第三人稱表演的詮釋法則。高氏主張，表演者在自我與角色間尚有一「中性演員」的過渡地帶，表演者在進入角色的過程及在扮演角色的同時不必完全投入角色，應時時與角色保持距離，兼具「體驗角色心理」與「觀審自身表演」於一身，使表演具有收放自如的張力。本文即企圖將高行健三重性表演的理論與實踐結合，並以高氏劇作為例，將詮釋方法具體化且進行分類，以奠定三重性表演理論成為一廣受重視表演學派的基礎。本文分為三大部分。第一部分敘述表演者與角色的關係，並舉出幾種因應三重性表演的暖身方式和排演方法。第二部分為本文重點，主要論述三重性表演的表演技巧，歸納出幾種詮釋法則與高行健的「人稱轉化式」劇作相呼應。第三部份探討三重性表演尚待釐清之處，提出關於中性演員是否外現的疑慮及高氏劇作中的人稱指代問題。
This paper discusses Gao Xingjian's practice of Triple stages or levels of acting, especially, acting in the third-person. Gao thinks that there is a neutral actor between the performer's self and the character. He or she is both in and out of the character. This paper tries to examine Gao's theory and practice of Gao's triple-stage method, taking Gao's plays as examples. This paper consists of three parts. The first part discusses the relation between performers and characters, and it also introduces the methods of warning up and rehearsing techniques. The second part, which is the main body of the paper, focuses on acting skill, and lists several ways to explain how to act. The last part discusses his method. One is: Does the neutral actor appear in front of audience? And the other is about the problem of the use of pronouns in Gao's plays.
