論《我和我的午茶時光》中「同步影像」之創作與詮釋

隨著數位化浪潮，劇場常因為不同領域之間的合作而產生不同面貌，例如加入多媒體影像、數位聲音、視覺裝置等技術，這些現象改變現場演出的工作型態與思維、創作形式與內容，其中使用攝影機搭配現場拍攝的表現手法，又被稱為「同步影像」（Real time film）。2017臺灣國際藝術節（TIFA）戲劇類節目，其中有兩個作品《源泉》及《茱莉小姐》有使用「同步影像」的表現手法，可見當代劇場中使用「同步影像」的作品，正在逐漸發展中。臺灣當代劇場目前以「同步影像」為媒材的有「莎士比亞與他的妹妹的劇團」的王嘉明、Baboo、徐堰鈴；「狠劇場」的周東彥；「四把椅子劇團」的許哲彬等人。其中周東彥的作品經常將影像與劇場結合，近年作品《我和我的午茶時光》將熟悉的3C科技裝置－平板電腦與智慧型手機，結合雲端操控影像技術，即時捕捉兩位演者在舞臺上以及虛擬網路平台（Facebook）上的影像，利用此技術能夠即時與臺下的觀眾互動，投影手法中並使用許多「疊影」效果，將前後影像交疊，產生「蒙太奇」的效果。「同步影像」帶給導演新的創作手法，改變觀與演的關係，也帶來「炫技」的質疑聲浪。研究者藉此延伸出兩個問題：一、導演為什麼選擇使用「同步影像」這個表現手法？二、「同步影像」對演者和觀者帶來什麼轉變？本文運用帕維斯（Pavis）與費雪－麗希特（Fisher-Lichte, 1992）的結構分析法（Structural Analysis），分析《我和我的午茶時光》作品中，導演如何運用「同步影像」來創作，並分別從創演端及受眾端，討論「同步影像」於此作品中所呈現的劇場美學。

關鍵字

同步影像；《我和我的午茶時光》；狠劇場

並列摘要

Theaters often have different appearances due to cooperation between different fields, such as adding multimedia images, digital sounds, visual devices, etc. These phenomena change the working patterns and thinking, creative forms and contents of live performances. Among them, the use of cameras with live shooting techniques is called "Realtime film." In 2017 Taiwan International Festival of the Arts drama program, there are two works "The Fountainhead" and "Miss Julie" has the use of "Realtime Film" performance techniques, showing that the use of "Realtime Film" in the contemporary theater works are gradually developing. Taiwan Contemporary Theatre currently uses "Realtime Film" as its media, including " Shakespeare's Wild Sisters Group", and "Very Theatre",4 Chaires Theatre" and others. Among them, Zhou Dongyan's works often incorporate images and theater. In recent years, the work "Teatime with Me, Myself and I" has used familiar 3C technology devices- Computers and smart phones- in combination with cloud-based image technology to instantly capture two performers on the stage. And the video on the virtual network platform, using this technology to instantly interact with audiences under the audience, using a number of "Overlap" effects in the projection technique, overlapping the front and back images to create a "Montage" effect. "Realtime Film" gives the director new creative skills to change the relationship between conception and performance. The researcher extended two questions: First, why did the director choose to use the "Realtime Film" representation? Second, what does it bring to the performers and viewers? This article uses Pavis and Fisher-Lichte (1992) structural analysis to analyze how the director used "Realtime Film" in "Teatime with Me, Myself and I". To create and discuss theatrical aesthetics presented in this work in "Realtime Film" from the creative end and the audience.

並列關鍵字

Realtime Film ； Teatime with Me, Myself and I ； Very Theatre

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