腦內劇場—論許尹齡的創作

Theater of the Mind—About Yin-Ling's Artworks

許尹齡(Yin-Ling Hsu)

指導教授 ： 張正仁

國立臺北藝術大學/美術學院展演書面報告/美術學系碩士班創作組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00082

摘要

腦內劇場—論許尹齡的創作
摘要
在以下的論述中我將以四個部份概說自己的作品，其中包括作為媒材的繪畫以及在作品中的三個形成作品特點“疏離感”的主要元素：記憶、精神狀態、行為所型構出如劇場般的繪畫作品。在第一部以繪畫這項媒材作為開端，以第一章的標題《繪畫中的真實與現實》為自身的作品下了定義，並由此延伸出動機與方法來述說在作品中我想紀錄我所觀察到的現實，但我希望在經過我的創作這項動作之後，能夠被體現為最真實的狀況：即便我所描繪的對象是已存在的不變現實，但卻能夠被決定該呈現出來的樣貌，抽離出創作者的角色觀察著這個宛如一個巨大的紀錄片劇場的真實世界。透過各種方法所呈現出來的局限性對應到我所想表達的真實世界狀態，繪畫被認知為在平面作為支撐加上顏色素材等的行為所透露的支配性，過渡到畫面中透過人物與現實場景中不協調的配置關係，無論是錯誤的透視或是如同拼貼般的畫面元素，都能將觀者從現實的敘事中拉離至我所設定的真實狀況中。
在第二章記憶中的可疑地帶則分為三個部份其中先以忘卻現實回到過去，講述記憶的兩項特性：記憶應當作為情感的存在而不只是功能性的紀錄人與人之間被賦予及命令式的情感交流功能。另一項特性則是歸屬感，就像是記憶一般，是離開的形象但卻一直存在著。後以記憶中的傷痛，描述人類一直在追求的理想究竟為何？以繭居族為發想的作品《在創傷處》為例，作品中的主角以自殘等行為證明自己的存在，決定自己的生與死，這也許是人類永遠都在追求的理想狀態，能夠完全自主地為自己作決定。最後則以重複的世界與再現的世界的觀點來認識社會，就像作品中的畫面並非勾畫出一個永遠無法實現的遠景，而是近乎現實卻又存在著某部份無法理解的空間場景，它們就像是釋放出去的線索，累積一個足以說服他人的數量，盡可能的探討現今世界的真實性，但越呈現出來的卻是更荒謬的樣貌，就像是說也許這個真實是可以被製造的。
接著從第三章開始以“精神狀態”來敘述人物在作品中所要傳達的意義，首先以內在封閉的性格做討論，精神異常從十七世紀人類施以大禁閉演變至今

，似乎轉化為自我的內在封閉，本小節中以作品《料理劇》中主角偏執所作的不可能的決定來描述此種行為並非抗拒社會化或心靈的喪失，而是企圖阻止這個世界及人類麻木與循環的渾沌狀態。第二節以深情疏離講述人類所依賴的過渡物件可能是違背常理的精神與行為，並以之替代各種形式存在的愛。最後一節隱匿慾望的情結，在討論作品中人物無臉的狀態，看不見現實的臉仍能憑藉著腦海中無論是對於自身或是他者經驗記憶的瑣碎材料創造出全新的形象，可能是自我的投射亦或是認清人類作為功能性物件的存在。
最後一章則從人類行為探討社會現況，強迫行為與表演都像是儀式般存在於現實中，不合理卻又被局限在合理的範圍內，熟練的操演著別人眼中應有的樣子，使其看似理想的生活著，猶如劇場般被搭建起來的現實生活讓人們乎略了最重要的是對自我的誠實，而這樣的狀態在未來回頭去觀看能得到的是再次對時代的證明。同時因為如此面對藝術創作我們也時常都忘記“誠實”這個感覺了，所以在完成這篇論述的同時，我也想透過觀看我的作品回過頭去尋找屬於這個時代的感覺。

關鍵字

腦內劇場；疏離感

並列摘要

Theater of the Mind—About Yin-Ling Hsu’s Artworks
Abstract
In the following thesis, I will talk about my own work in four parts, including painting as media and three major elements to form the quality of “alienation” found in my works: memories, mental state, and behavior, from which composed a series of theatrical paintings. The first part starts with the media of painting. The title of Chapter 1, 《Real And Reality In Painting》 defines the works themselves. And from here generated the motivation and approach to recount the observed reality that I want to record in my works. I would like it, however, to be reconstructed in most real condition through my art making: even though the objects exist already in reality, I can still determine their appearances while I withdraw from the role of creator observing this real world of a gigantic theatre of documentary. Corresponding those limitations presented in various ways to the real world situations I want to express, painting is recognized as a combination of plane support and domination of colors. Then bringing it further into composition: through allocating the figures and settings incongruously—by incorrect perspective or collage-like effect-- the audience are to be pulled out of the narration of reality and into the real situation set by me.
In Chapter 2, the skeptical area of memory is divided into three parts. The first part talks about two qualities of memory by forgetting about reality and returning to the past: memory should be seen as emotional existence rather than functional record of communication among people; and belonging— the same as memory, it’s a form of departure but keep existing. The second part depicts what the ideal is men are questing by representing the pain in memory. Taking the piece based on cocooning《At the Injured Part》 for example, the character commits self-harming to prove his being. Being able of choosing to live or to die independently is probably the ideal state humans are constantly longing for. The last part is to understand the society through the views from reduplicated world and from reconstructed world, just as the painting is depicting not an unfulfillable vision but an almost real yet unintelligible space. These are like clues that lead people to probe the reality in this world, yet it appears more ridiculous the more it pieces up, as if the reality could probably be made up.
Chapter 3 states the meaning of figures in the works from “mental state” in the beginning. First I start with discussing innate reserved personality. It seems that psychosis has turned into reserved ego since the confinement in seventeen century. This first section describes that the paranoid resolution is not antisocial or insanity, but intention to stop the chaotic cycle of this world and numbness of humans. The second section “alienated affection” asserts that transference might be contrary to common sense, and it is seen as substitute of all kind of love. The third section “complex of hiding desire” speaks about the faceless figures in my works. The audience can’t see the face, however, they can still come up with new impression from piecing up experience of their own or others. It can be projection of self or object to understand human behavior.

The last chapter discusses the society in this world from the perspective of human behavior. Obsessive-compulsive behavior and performance are both like rituals; they are not ideal yet constrained in certain range acting accordantly to common sense as if they were leading an ideal life. The constructed reality, like theatre, lead people overlook the honesty of being. And this situation will again prove the era now as we look back in the future. Similarly, often we forget about being honest in art making. Hence by the end of this thesis, I’d like to look for the feelings belonging to this era by looking through my works.

並列關鍵字

theater of the mind；alienation

參考文獻

Murray Stein，《榮格心靈地圖》（Jung’s Map Of The Soul ，1999），立緒文化事業股份有限公司出版。

Robert Sokolowski，《現象學十四講》（Introduction to Phenomenology，2004），心靈工坊文化事業股份有限公司出版。

John Berger，《我們在此相遇》（Here is Where We Meet，2008），城邦文化事業股份有限公司出版。

John Berger，《觀看的視界》（The Sense of Sight，2010），城邦文化事業股份有限公司出版。

Roland Barthes，《哀悼日記》（Journal de Deuil，2011）， 城邦文化事業股份有限公司出版。