象外之象，景中之景－淺談當代「講演」藝術之實踐

Out of the Image, within the Scene: On the Practice of Contemporary Lecture Performance

翁茂格(Weng Maoge)

《劇說戲言》 10期 (2022/07) Pp. 14-36

https://doi.org/10.6559/NTUDT.202207_(10).0002

摘要

「講演」（Lecture performance）此種藝術形式是「演講」與「表演」的混血，對於不同媒介與表演形式的包容性決定了其中的靈活性與含混性，使其變成了一個實驗的領域、對話的空間。本文想要通過對「講演」之歷史的回溯與其中具有代表性的作品的分析，總結「講演」的定義，並試圖探討：其一，在知識傳播的脈絡中，「講演」對制度產生的衝擊以及創造出的新的知識傳播的模式。其二，在表演藝術的領域中，「講演」構建了何種演員與自我、演員與觀看者之間的關係，換言之，「講演」創造了一種怎樣的「現場性」？最後，本文欲通過對以上問題的討論，窺看「講演」藝術在當今文化實踐中的先鋒性與局限性。

關鍵字

講演 ； 表演藝術 ； 知識 ； 權力

並列摘要

As the name suggests, lecture performance combines the elements of lecture and performance. Its flexibility and ambiguity are due to its inclusiveness of different types of media and forms of performance. Due to its hybrid nature, lecture performance provides a platform for exchange and experiments. With this background, this article will define the characteristics of lecture performance by analyzing its representative works. At the same time, three points will also be discussed.First, in the context of knowledge dissemination, how does lecture performance affect the general education system? At the same time, how does it create a new way of knowledge dissemination? Second, in the field of performing arts, what kind of relationships does lecture performance construct between performer and character, as well as between the performer and spectator? In other words, what kind of ＂liveness＂ does lecture performance create? Finally, this paper will look at the precursors and limitations of lecture performance in the context of current cultural practices.

並列關鍵字

lecture performance ； performing arts ； knowledge ； power