本文討論「放鬆」如何在臺灣表演訓練中取得一個特別的價值。臺灣表演訓練不同於史坦尼斯拉夫斯基表演訓練中純粹把它當作外形的肌肉鬆弛，而是作為表演訓練及判準的核心。其根源來自吳靜吉於七○年代將心理學以及美國的表演訓練帶入臺灣的劇場表演，其過程擴展了當時臺灣人的身體表演形式。而八○年代表演藝術界在追尋「中國人身體」的過程中，更援引傳統的身體訓練，將「放鬆」的過程導入東方的思考，並將其帶往精神的境界。因此，本文將以學院和表演藝術界都廣為運用的太極導引作為闡述「放鬆」的焦點，藉此說明「放鬆」這個詞在臺灣表演訓練中的特殊意義。本文並欲藉此過程論證，許多一如「放鬆」這樣轉化歧義的表演價值，使臺灣的表演者對於「此時此地」為何而動的價值產生了曖昧不明的認同。

This essay paper is about how 'relaxation' plays a special role. Unlike Stanislavsky system only takes it as a muscle relaxation, in Taiwan relaxation seems to mean a core value of acting. One of the reasons for this comes from Wu J. J.'s teaching, which is based on his psychology background and experience in the States. At that time people who worked in performing art looked for their own body language and training, in comparison with the western style. Therefore, the meaning of 'relaxation' comes to a spiritual resemblance. This paper is going to take the introduction to Tai-chi as an example to interpret the highlight of 'relaxation' and its special meanings in the acting training of Taiwan. Therefore 'relaxation' carries complicated meanings, so the performers in Taiwan have ambiguious understanding towards the idea of 'right now and right here' and 'why moves'.