如何重建劇場：以十七世紀法國劇院為例

認識歷史上的舞台及劇院建築，乃是了解戲劇史的重要關鍵；然而，大部分（登載於史冊上）（著名的？）的劇院，不是消失湮滅，便是歷經重建整修，早不復見原貌。於是，西方學者長久以來便試圖藉助於素描、小模型、乃至實物大小的模型，重建昔日的劇院。而不論以什麼形式，完善地整理出重建劇場的方法學，一直是此類研究的重要基礎以及背景。因此，從事以數位重建劇院的現代歷史學家面臨相同的挑戰，便不足為奇了。在本文中，我想要探究學者們重建劇院的原因，以及他們所採用的不同方法。我將以眾所熟知的伊麗莎白公共劇院為例，說明在重建劇院時，一般會面臨到的幾個問題，並指出一些應當記取的教訓，以助成功發展重建策略。之後我將討論我是如何將這些策略應用在十七世紀巴黎劇院的部分虛擬重建上，其中包括原是室內網球場的勃根第劇院（Hôtel de Bourgogne），以及建於1641年的主教劇院（Richelieu's Palais Cardinal Theatre）。透過仔細討論這些模型，我將指出有哪些不同的方法可以傳遞這些立體重建計劃的研究成果，以及如何表達從中衍生的問題。最後，我要證明虛擬重建的研究及製作，能為當今的學習環境提供有用的技巧；此外，教學時結合數位劇場模型，大有助於提昇劇場重建研究的品質。

關鍵字

劇場史；劇場重建；十七世紀法國劇場；主教劇院；數位重建

並列摘要

An understanding of historical stages and theatre architecture is obviously critical to an understanding of theatre history, but most historical theatres have vanished or else have been renovated beyond recognition. Consequently, scholars in the West have long sought to reconstruct theatres from the past through drawings, small models, or even life-size models. Formulating successful methodologies for re-building theatres, in whatever form, has always been an important part of the basis and context of such studies, so it is hardly surprising that similar challenges face today’ historians engaged in building digital reconstructions.In this essay, I would like to explore some of the reasons for which scholars have created theatre reconstructions, and the different ways in which these were made. Using the more commonly known example of the Elizabethan public theatre, I will illustrate a few of the problems faced in theatre reconstruction generally and then identify some lessons to be learned from these for developing successful reconstructive strategies. I will then discuss how I have applied these strategies in partial virtual reconstructions of seventeenth-century Parisian spaces, including the Hôtel de Bourgogne, an indoor tennis court, and most particularly Richelieu' Palais Cardinal theatre from 1641. Through discussing these models in some detail, I will identify various methods for disseminating the findings of 3D reconstruction projects, and suggest ways for expressing the questions they raise. Finally I will argue that the study and creation of virtual reconstructions can teach valuable skills in contemporary learning environments, and that the incorporation of digital theatre models into teaching can only strengthen the quality of reconstructions as research.