里歐娜．費妮作品的戲劇性特質研究

戲劇性表現在繪畫歷史上被廣泛引用，卻鮮少被視為主流題材來討論。里歐娜．費妮（Leonor Fini，1907-96）在藝術史上普遍被歸為超現實主義藝術家，然其創作可見大量戲劇元素之援引，本文主軸即沿著其繪畫中的戲劇性表現手法展開論述。費妮與戲劇的淵源可以從幾個面向追溯：她除了是一位藝術家，同時也是劇場佈景與劇服設計師，其創作顯示出繪畫與戲劇的緊密結合；另外，透過傳記內容，扮裝與戲劇經驗從費妮兒時便已顯露，日後更成了一生的興趣，並有意地將此經驗融入作品。本文第一章從其成長背景與藝術養成，來認識戲劇如何成為費妮人生的一環，又如何成為創作靈感泉源。第二章從圖像著手，將其作各元素一一進行分析，釐清藝術家如何以服飾裝束、人物姿態和空間背景的架構，來達到戲劇效果，以及與彼時戲劇潮流之間的關聯。這些形式在其反覆運用下，漸漸形構成一種屬於個人的符號語彙。第三章進一步剖析，構成戲劇之「扮裝」、「展演」、「觀看」三項動作，如何在畫作呈現。「扮演」在費妮的現實生活與畫作皆可見到，目前留下的照片記錄中，顯示費妮與友人各式的扮裝造型，畫作中的人物也反映著此一現象，穿著誇張服飾，並營造出刻意予人觀看的展演姿態。其生命經驗與作品中的此一特質有著密切關聯，或許可說其創作是童年經驗的延續，特殊之處在於它所呈現的是一幅幅費妮的自身寫照，人生亦然。又，畫作外的觀者亦涵蓋在費妮的考量內，觀者該以何種角度審視作品？戲劇性表現手法除了為費妮個人的喜好外，更反映著存在於人與人之間的普遍現象。與其他藝術家相比，在其作品中更可解讀深刻的時代脈動，揭露藝術家何以戲劇性表現作為個人與時代的文化符號，同時反映出對人生百態的觀察。

關鍵字

里歐娜．費妮；戲劇性；劇場設計；超現實主義

並列摘要

Theatrical expression is widely used in the history of paintings; yet, it is seldom discussed as a mainstream topic. Leonor Fini was commonly regarded as a surrealist artist; however, there were traces of theatrical in her works. The analysis of this article, accordingly, traces down the elements of theatrical expression in Fini’s works. Fini’s ties with theatre could be traced back from several aspects: she was not only an artist, but also a theater set designer and a costume designer. Fini’s works showcased the intimate combination of painting and theatre. According to the Biography of Fini, she was exposed to costume and theatre at an early age. Later on, Fini’s early exposure to costume and theatre had developed and became her lifelong interest, and she deliberately added her experiences in costume and theatre into her works. Starting with Fini’s upbringing and cultivation of art, chapter 1 of this article reveals how theatre becomes a part of Fini’s life and her source of inspiration. Chapter 2 looks into “images.” This chapter analyzes every element of Fini’s work, and figures out how artist used costume, gesture, and structure of space to reach theatrical expression and present the relation to trend in modern theatre. By applying these forms again and again, personal sign and vocabulary is formed.Chapter 3 involves further analysis, revealing how the 3 actions of theatre : masquerade、play、seeing are presenting in drawings. Disguise can be seen in both Fini’s actual life and paintings. The record of photos reveal various looks of Fini and her friends, which reflects the theatrical clothing style and looks of figures in Fini’s paintings. These theatrically-dressed figures spread out a sense that they are dressed to draw gazes from people, as if they are on exhibition. Fini’s experience in life has deep connection to this feature of her works. Or, perhaps Fini’s works are the lasting of her childhood experience. What’s special about Fini’s work is that it depicts Fini herself. Fini also puts viewers outside the paintings into consideration, thinking “how should viewers survey this work?” Theatrical expression is not only Fini’s preferable technique, but it also reflects the common phenomenon among people. Comparing to those of other artists, works of Fini include the deep pumping of the era, uncover why artists choose “theatrical expression” as the symbol of individuality and an era, and reflect observations of various aspects of life.

並列關鍵字

Leonor Fini ； Theatrical ； Theater set design ； Surrealism

參考文獻

高榮禧，〈費妮（Leonor Fini）作品中的女性意識〉，《視覺藝術》，6 民92.06，頁81-99。

Allmer, Patricia;Manchester City Art Gallery. Angels of anarchy : women artists and surrealism, Munich : Prestel, 2009

Barthes, Roland. The responsibility of forms :critical essays on music, art, and representation, New York : Hill and Wang, 1985

Beacham, Richard C. Adolphe Appia, theatre artist, Cambridge ; New York : Cambridge University Press, 1987

Breton, André. Manifestoes of surrealism, Ann Arbor : University of Michigan Press, 1972

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里歐娜．費妮作品的戲劇性特質研究

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