臺灣劇場裡，模糊的語音表達被稱為「舞臺腔」，甚至有可能會誤導觀眾的理解，故本文據此從聲音訓練的教材以及其他相關表演課的因應方式，探討臺灣戲劇科系的聲音訓練。戲劇系裡，聲音訓練的課程包含呼吸、共鳴腔訓練以及咬字訓練，有些課程還注意到停頓的重要。另外，教師們因著不同的經驗和美學判準，也從文本出發進行訓練。聲音來自於身體，演員尋找來自身體的聲音，好的聲音是來自於全身，因此，本文也探討身體在聲音訓練上的意義。在舞臺語言方面，翻譯後的經典劇本有找不到聲情的困難。語音文化的不健全，使得中文或其他方言展現的樣貌相當侷限，歷史的斷根使臺灣的演員找不到自己的說話方式，甚至因著年齡、性別、性格而歧異的語言使用和聲情，在舞臺上只是被想像出來，而沒有具體展現。除了身體素質，本文認為，聲音訓練更要從文化的基底著手，瞭解臺灣語言與聲情之間的關係，如此，演員才能在臺灣劇場中不只是翻譯和傳達字意而已，更能創造出臺灣劇場的聲音表情。

In the Taiwanese theatre, we hear mumbled words which can mislead the audience. Some types of vocal expression is given a term “the accent of the stage”. In light of this phenomenon, this article examines the teaching materials in voice and other acting trainings which deal with this problem. Theatre studies in Taiwan offer voice training modules such as breathing, resonance, words, muscularity, and pause. Based on their personal experience and criteria, some acting teachers give training drawn from theatre studies texts. Voice comes from the body; therefore good body training and voice developing habits are also discussed. In this paper, the author explores how actors find their own voices within their own bodies and suggests that good stage voice comes from the whole body. When it comes to the language choice on stage, the classical scripts translated in Chinese have the difficulty in presenting the voice. The language culture in Taiwan is not fully developed, so the vocal presentations in Mandarin Chinese and other dialects are limited. Classical scripts translated into Chinese are often confronted with the difficulty of vocal presentation. Due to the disconnection with own history, Taiwanese actors are not able to find their own ways of speaking. On stage, their voices and uses of words change according to different ages, gender and personalities. These changes are, however, imagined, rather than based on observations. Apart from body qualities, this paper proposes that actors also need to have solid foundations in their local cultures, so as to understand the relationship between language and voice. Actors in the Taiwanese theatre should not be limited to translating and transmitting the meanings of words, but are to also create the emotions and textures of voices in the Taiwanese theatre.