表演藝術家阿布拉莫維奇（Marina Abramovic）就是葛羅托斯基（Jerzy Grotowski）劇場的「神聖演員」？她的創作生涯幾乎就是葛氏「第二方法」的寫照。但有點荒謬的是，這種演員在劇場裡已經絕種了，竟然卻在表演藝術裡還存活著，而且還成了名流富婆教主？葛氏著名的「出神的技術」，事實上可以用來詮釋和豐富阿布拉莫維奇在表演藝術界的艱苦奮鬥和得來不易的成功？阿布拉莫維奇在澳洲沙漠無意中發現的「液態知識」，及其對佛教禪修、薩滿儀式和靈療充滿了興趣，這些知識或現象都與葛氏所強調的「能量的垂直升降」或「意識的轉化」有密切的關係。可惜西方學者或專家對這些禪修課題─特別是居於核心重要地位的「能量的垂直升降」或「意識的轉化」─多缺乏實修體證，以致在解釋或評論阿布拉莫維奇的作品時難免有隔靴搔癢、搬弄是非甚或緣木求魚之憾。抱著讓戲劇界和美術界可以互通有無的初衷，本研究就試圖用葛氏的「身體行動方法」（Method of Physical Actions）來發掘阿布拉莫維奇的奧秘，同時，也利用阿布拉莫維奇豐沛的創作能量和作品，來彰顯葛氏的真知灼見：真正的創作理當是沒有戲劇或美術之分的，一個適用於美術人的創作方法，理當也適用於戲劇表演者，因為所有的創作力都來自於人生命最幽微的底層或源頭？

Marina Abramovic is a reincarnation of Grotowski’s “Holy Actor,” who was inaugurated in 1965 and has been almost totally forgotten in the 21st century. It’s ironic to find this rare and vivid sample in the performance art of Abramovic and that the “Holy Actress” seems to have quite enjoyed her rich, famous and chic New York life, contrary to the common view of “holiness” as being poor and simple life of the countryside. However, given that Abramovic has long been interested in shamanism, meditation and transformation, Grotowski’s “technique of trance” and the “Method of Physical Actions” could be appropriate tools to throw light on the deeper layers of Abramovic’s struggles and find the hidden meaning of her hard-won performance art. The “Abramovic Method,” which bears many similarities to Grotowski’s techniques, can also provide a clue to understanding the art of the lost theatre.