尤金‧芭芭（Eugenio Barba）發現，不同文化中有成就的表演者之間都深藏著展現舞台活力的秘密，亦即演員如何成為一種「在場」的形象，而這也是各種表演技巧的根源。本文主要以芭芭提出的「劇場人類學」以及他和歐丁劇團（Odin Theatre）所創造的「身體行動方法」（method of physical actions, MPA）為視角，探究印尼爪哇傳統表演藝術的秘藝：透過《貝多優》的「身體行動方法」，訓練表演者∕個人經歷將日常意識轉化到非日常意識狀態的過程。這不僅是完美演繹這門藝術的關鍵，也可作為個人朝向靈性成長的不二法門。
本文第一部分先簡要爬梳《貝多優》的發展歷史，再定義「身體行動方法」， 第二部分著墨爪哇傳統表演藝術對於意識轉化的詮釋，第三部分探討《貝多優》作為一種「身體行動方法」的實踐面向，希冀能提供表演者∕個人一個可行的、有效的自我訓練模式。

Eugenio Barba found that those successful performers among different cultures all possess the secret art of presenting scenic bios; that is, how a performer can become a "presence" on stage. This is also the origin of all techniques. Based on Barbas "theatre anthropology" and its "method of physical actions (MPA) "experimented by both Barba and Odin Theatre, this paper aims to explore the secret art of Javanese court dance: How to train performers/individuals through Bedhaya (MPA), as to experience the transformation of consciousness. It is not only the key to an effective performance. It can also be taken as a proper course of personal spiritual growth.
The first part of the paper starts with a brief combing of Bedhaya history, and then gives the definition of MPA. The second part focuses on how Javanese define the transformation of consciousness. The third part attempts to demonstrate the training and practices of Bedhaya as a kind of MPA, hoping to provide performers/individuals a workable as well as effective way for self-training.