視覺藝術場域的劇場轉化《問自●畫像》創作論述

碧娜．鮑許（Pina Bausch）曾說：「我在乎的是人為何而動，而不是如何動。」舞蹈即是生命意象的表徵，用肢體動作傳達給觀眾的除了外在的形貌，最重要的是隱藏在我們體內最深處的心。因此，在舞蹈的創作之中，我在乎的是什麼樣的動作、情緒抑或話語可以感動人心。此次作品期望打破傳統黑盒子劇場的演出模式，選擇以美術館的展覽空間作為特定場域的表演，以視覺藝術為主要展示作品的美術館，將表演置於一個現實生活的場域之中，提供了觀眾移動、選擇視角、甚至決定觀賞長度的主動參與機會，觀眾將不再是被動的接收舞台上的演出，而是有機會選擇觀看的行為，正如觀看「萬花筒」般有著千變萬化的觀看方式，並做出最直接的反應。此外，相對提供切換時空的幻覺劇場，將表演置於美術館這樣的一個現實生活場域之中，也企圖將作品與生活產生最直接的聯結，進而引發觀賞者對於現實社會議題的共鳴。本系列作品第一階段創作《自畫像》，由視覺藝術為啟發概念，以舞蹈藝術為創作之本，搭配聲樂現場演出，融合美術館展場之環境空間，成為一跨領域空間展演的形式。同時，《自畫像》也藉由開放的展場空間與流動，將較少接觸表演藝術的民眾引入展演空間之中，不僅拓展了觀賞表演藝術的觀眾群，從觀者的角度也帶入了更多不一樣的可能，《問自˙畫像》是奠基於前一作品《自畫像》的成果，在這階段的創作中，我想進一步追問：人為何而動？因誰而動？因什麼而動？因時間、空間、人事物的變異性，人與人之間會以什麼樣的動作、情緒或話語來互動？而會接收到什麼樣的訊息？我期許能將自身所學和各類藝術融合，在未來創作的作品上有所創新。希望透過這次《問自˙畫像》的製作帶給觀眾不同的欣賞方式、觀看角度及跳躍的思考，思考這取材於日常生活的眾生相，如何在特定場域及環境劇場所轉化出來的空間，呈現出「生活中的身體」。就如同瑪姬．瑪漢（Maguy Marin）所說：「舞台上所出現過的各色人物，都像是你我一樣尋常。」，此為本《問自•畫像》創作之動機與目的。

關鍵字

舞蹈創作；特定場域藝術；美術館

並列摘要

Pina Bausch once said, “I am not interested in how people move, but what moves them.” Dance is the rendering of life imagery; what is being conveyed to the audience is not merely external appearances, but more importantly what is hidden in the depth of the mind. Hence in the creative process of dance, what I care about is what movements, emotions or verbal expressions can move the viewer. Portrait/Q. myself aimed at breaking the traditional presentation of the black box theater, using the exhibition space of a fine art museum for a site-specific performance. Placed in a real-life situation, this performance provided the audience with the freedom of movement and choice of viewpoint, together with the opportunity of actively participating in deciding the length of the viewing. Instead of passively watching the performance on stage, the audience was encouraged to actively choose their way of seeing, as if looking through a kaleidoscope, making direct response to the viewing as such. In addition, it offered a certain theater of illusion that jumps between space and time by placing the performance in a realistic site, hoping to make direct connections between art and life, so as to strike a chord with the viewer regarding issues in our society. Self-portrait, the first stage of creative work in this series, is an interdisciplinary site-specific presentation inspired by visual art, with dance as the basis of creativity, performed life with vocal music in the space of an art gallery. Meanwhile, Self-portrait introduced a different audience into the theatrical space, which not only expanded the number of audience for performing arts but also brought about more possibilities from the viewpoints of the audience. Based on Self-portrait, Portrait/Q. myself wanted to ask further: Why do we move? For whom? For what? How do people interact, with what movements, emotions or words, when faced with the diversity and variation of time, space and interactive bodies? What messages are received? My endeavor is to blend personal strength in interdisciplinary arts to make innovative breakthroughs in future works. Portrait/Q. myself aimed at bringing the audience a novel way of viewing as well as a non-linear way of thinking over how “bodies in life”, inspired by the ordinary, could be presented in a site-specific space and a space transformed from an environmental theater. Just as Maguy Marin said, “…appeared on the stage of the colored people, like you and me are like usual. “ The creative motif and purpose of Portrait/Q. myself could be seen in the same way.