過去三、四十年來劇場界對“presence”的研究興趣和動力，主要來自歐丁劇 場導演尤金諾•芭芭（Eugenio Barba)和他的演員們的努力。芭芭所編寫的《劇 場人類學辭典：表演者的秘藝》(Sfecref ，中文版2012年在臺出版），整本書都在述說演員該如何鍛 鍊出自己的「存在感」。「存在感」是二十世紀西方劇場訓練的重點，芭芭認為 「存在感」不只是西方的關心，而是跨文化的、全人類的。例如：印度劇場的「呼 吸能量」或「力量」，日本劇場的「腰力」、「氣合」和「幽玄」，峇里島劇場 的「塔蘇」和「巴幽」，以及中國劇場的「功夫」，都是「存在感」的同義字。 在臺灣劇場的排演場，「存在感」也可說是大家常用的口頭襌了：你今晚的「存 在感」怎麼不見了？「存在感」雖然那麼重要，但卻似乎沒有人能真正地說清楚 “presence”（「存在感」）到底是什麼？除了爬梳“presence”（「存在感」）的字 典定義和學者專家的詮釋外，本文進一步將以芭芭的「劇場人類學」為經，以歐丁女演員蘿柏塔•卡列莉（Roberta Carreri)的訓練和演出為緯，追根究柢，以 期具體交織出他們的“presence”圖像和我們的劇場美學願景，讓“presence”（「存 在感」）深刻、活潑地成為中文學界和藝術界的他山之石。

Owing to the continuous efforts of Eugenio Barba and the Odin Theatre, the “presence” of the actor has become a keyword in discussing the art, craft and aesthetics of acting over the past 30 or 40 years. A Dictionary of Theatre Anthropology: The Secret Art of the edited by Eugenio Barba and Nicola Savarese and first published in 1991, discusses the cultivation of presence by actors, not only in modern Western theatre, but also in the fields of other performing arts such as dance, mime, music, and opera, whether Eastern or Western, traditional or contemporary. The aesthetic of presence is transcultural, as evidenced by terms used by performers all over the world such as prana or shakti (India), kosh^, ki-bai and yugen (Japan), chikara, bayu and taksu (Bali), and shinm^yong (Korea). Barba and his Dictionary, however, misnamed the presence of Chinese performers as 'kung-fu, ” and other Chinese terms such as “cun-zai-gan” (sense of existence) or “ chu-shen-ru-hua ” (spirited, tranced, or sublimed) would make better alternatives. Nevertheless, presence, roughly translated as “cun-zai-gan,” has become a catch phrase among working Taiwanese actors, who are often heard to say: “My cun-zai-gan eluded me tonight…” This paper will continue the discourse on presence by tracing it back to the practice of “Playing Shiva,” as espoused by the young Jerzy Grotowski during the 1960s, which culminated in a certain Method of Physical Actions under the name of “Art as vehicle” by the mature master of modern theatre in the 1990s. It is hoped that through this examination of presence, a new force in theatre will arise on the Eastern horizons of world theatre.