本創作報告分別在製演前、排練與演出的過程中，記錄與檢討了筆者的畢業製作《四川好人》。筆者使用多樣的角度，嘗試詮釋沈蒂與她的分身「蕭大」這兩個角色。通篇分為四個章節，第一章從製演背景解析《四川好人》沈蒂一角的角色意涵，與布萊希特史詩劇場形式帶給我對表演之體會以及問題意識。第二章從戲劇整體架構，來看在「史詩劇場」的形式中，如何發掘表演者自我的優缺點，並運用這些特質來處理角色。第三章則是從角色內在出發，透過「舞蹈呼吸法」與「五法」的相應，來探討添增角色之豐富性的可能。最後一章檢視了這次的演出過程中，舞蹈及戲劇在表演方式上的的異同，及其相輔相成之關係 ; 並從筆者本身由舞蹈表演者轉為戲劇表演者的觀點，記錄「分析」、「排練」、「呈現」等三個重要的環節，從而做成反思。 This report records and reviews my graduation production The Good Person of Sichuan. I use a variety of perspectives to analyze and interpret the roles of Shen Te and Xiao Da, her invented cousin. The whole report is divided into four chapters. The first chapter discusses the meaning of Shen Te 's character in view of the background of the production, as well as the style of Brecht's epic theater. The second chapter looks at the portrayal of Shen Te / Xiao Da in the so-called epic model, and explores the strengths and weaknesses of myself as a dancer-actor. The third chapter matches my acting skills with the breathing method of dancing and the "five laws", and examines how they have helped to enrich the layers of my performance. The last chapter reviews and discusses the performance process: how dance and drama are similar and different, how their similarities or differences can reinforce each other, as well as what kind of preparation needs to be done by a dancer-actor like myself before a production is presented.
