遺址時空劇場：西安、羅馬遺址再現的比較研究

Heritage as Spatial-Temporal Theatre: Comparative Research on the Representation of Historic Ruins in Rome and Xi'an

薛孟琪(Hsueh Meng-chi)

《民俗曲藝》 198期 (2017/12) Pp. 165-218

摘要

本文以實例具體分析羅馬、西安的城市遺址在空間形態上之特殊性如何影響遺址的再現，如何以虛擬科技輔助、提升遺址現場的「可參訪性」，以動人的方式增進參訪者對歷史文化的理解。迥異的遺構殘損狀態實質上促使羅馬、西安探索不同的取徑，結合虛擬與現實的再現思維、目的、方法、效果皆有所不同：羅馬藉投影破除遺跡疊壓的干擾，使其建築與城市文明得以直觀感知；西安則製造浪漫化的歷史魅影、輔以實體構築形式張揚空無的滄桑感。以「空間性」的再現設計作為閱讀分析的文本，本文比較性地探究羅馬、西安遺址再現的挑戰與突破，同時指出「空間」作為各種再現形式之整合平臺的潛力，對其他城市思考遺址活化具有實務上的借鑒意義。除了對劇場化的遺址展演策略進行反思，本文亦探索隱身於遺址劇場幕後的文化認同與集體記憶建構如何為現世利益服務。本文以「劇場」為雙關隱喻，一則探討遺址如劇場般的展演、再現設計策略，二則以舞臺作為鏡像反思的空間，主張以何觀點定位、決定遺址的再現設計本身即是認同的展演：舞臺景框如同嵌着一面明鏡，臺前的展演與再現幕後的意圖存在交互映射、現實與擬仿的鏡像關係，有助於反思遺址劇場化（從「展示」轉向「展演」）之現象背後的現實意義。

關鍵字

遺址劇場 ； 再現策略 ； 可參訪性 ； 展演文化遺產

並列摘要

This research delves into the representation designs of historic ruins in Rome and Xi'an from a comparative perspective. Italian capital Rome and Chinese Xi'an are both ancient metropolises that possess more than two-thousand-year urban histories and therefore there are abundant ancient relics worthy of conservation. Historic ruins in Rome are prone to be layered vertically underground while heritage sites in Xi'an are horizontally widespread and bound to be displayed in the open fields. It has been widely accepted that ＂visitability＂ and visual legibility should be created in order to convey meanings and values of heritage sites to the public. It is especially true to those seriously ruined heritage sites which are less perceptible and intelligible by nature. Virtual reconstruction and multimedia projection techniques seem to be a feasible ways to enhance on-site heritage interpretation, contribute to the sensory representation of the archeological heritage sites, and furthermore provoke visitors' emotion. Then, how were such techniques utilized differently due to the uniqueness of heritage sites in Rome and Xi'an, namely vertically superimposed and horizontally interspersed? Based on empirical studies, this article scrutinizes their differences in mentality, motivation, and practice of employing virtually reconstructive projection designs. This article also points out the ideological shift from displaying to performing cultural heritage which represents heritage sites as spatial-temporal theatres that narrate stories. By projecting imagery on the ruined environment, the Roman design team temporarily got rid of the disturbance of the superimposed and entangled later additions to the ruins while the Xi'an design team rendered imaginative historical atmosphere or reserved the extensive emptiness deliberately. Besides considering heritage sites as tangible storytelling theatres, this article also borrows the mirror-like configuration of theatrical stage metaphorically for reflexive thinking. By looking into the backstage performance, this article analyzes how the protagonists respectively constructed, manipulated, and used the ideology of collective ownership and sponsorship regarding the archaeological discovery, conservation, and representation of the heritage sites.

並列關鍵字

heritage as theatre ； representation strategy ； visitability ； performing cultural heritage

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