『構築理性思維中的感性情報』 談《Dinner with Friends》與《莊嚴的笑話》的舞台設計 —以感性的姿態看劇場舞台設計行為

「Construct Perceptual Information in Rational Thinking 」 The Set Design for《Dinner with Friends》& 《A Dignified Joke》--Seeing Theatre Setting Design in a Perceptual Gesture

張哲龍(Che-Lung Chang)

指導教授 ： 王世信

國立臺北藝術大學/戲劇學院/劇場設計學系碩士班/碩士(2007年)

https://doi.org/10.6835/TNUA.2007.00016

摘要

「高牆上的旁觀者 — 俯視理性思維和感性直覺的鬥爭」
設計的行為即是創造的行為，人類是感性與理性兼備的動物，進行創造的過程當中，更需要這兩種天性的巧妙配合。每一次的舞台設計創作都是一系列理性與感性的戰鬥，從衝撞中獲得新的火花，並在疏通和相互妥協中達到平衡，然後必須經過思想磨合的歷程，最終才能取得陰陽調和的平衡點。
『舞台設計』是藝術創作也是設計行為，概念的發展和實踐，除了運用理性思維推演，也應該以一種更為感性的邏輯去感受。本篇創作報告以愛情作為架構，將屬於一個舞台設計者的創作愛情觀，導入設計的每一個階段當中。2006年參與戲劇《Dinner With Friends》和舞蹈作品《莊嚴的笑話》的舞台設計，如同經歷兩段充滿甜美激情與苦澀掙扎的戀情。將它們誠實地曝曬在陽光底下，作為一個記錄、一個自省，以及一場隱藏在創作者腦內，理性與感性血腥鬥爭的側寫。
把設計比做愛情，並沒有甚麼創建理論的遠大企圖，充其量，就是讓我們從創作的過程當中，將自己抽離出來，站在某個高度上，俯視自己。就方法而言，並不在強調設計方法一般性和技術性的問題，而是讓自己如同坐在高牆上的旁觀者一般，觀察『舞台設計行為』，在思索與轉變當中，它所呈現出來的不同姿態和表情。

關鍵字

舞台設計 ； 設計方法 ； 設計行為

並列摘要

「A Bystander Sitting on the Wall」-
To Survey the Battles between Rational Thoughts and Perceptual Instincts.

Designing is a deed of creating. Human is a sort of animal which combines with reason and emotions. In the process of creating, we need to use these two instincts artfully. It will be a series of battle between reason and percept every time we design a set. Herewith we get sparks in thoughts impact, and find a point for balance in compromise. And then, after a course of struggle, we can reach the compositional destinations commendably.
Set Design is art, and it is devising also. Except for deducing in a very logical way, we should feel it directly with our emotions during developing or practicing concepts . This study is going to put the compositional philosophies of a designer and the whole process of setting design into a writing framework what bases on “LOVE”. Participating in set design for 《Dinner With Friends》and《A Dignified Joke 》 in 2006, are just like two passional affairs of love which filled with sweet enthusiasm and violent sufferings for me. By spreading them out under the sunshine, I regard them as a recording, an introspecting, and a reflection of the battles proceeded in my brain.
Comparing Set Design to Love doesn’t have too much great theoretical attempts. At best we can only drag ourselves out to a higher psychic position, to survey every works that we have done and every thoughts that we have made. As far as the method is concerned, I am not trying to emphasize the general or technical problems of setting design methods. Yet I turn myself into a bystander who sitting on a notional high wall to observe the actions of Design and different expressions or gestures it shows out, while the thoughts are brought to another way.

並列關鍵字

set design ； design processs ； theatre art ； dinner with friends

參考文獻

2.Jean Baudrillard 著，林志明 譯，《物體系》時報文化，1998年

8.John Willett 著，《CASPAR NEHER –Brecht’s Designer》Methuuen，1986年

參考書目：

1.Cristopher Jones 著，王錦堂 譯，《設計方法-人類前途的根源》徐氏基金會，1992年

3.朱光潛 撰，《文藝心理學》頂淵文化，2003年