互動式劇場－戲劇性與真實性之場景研究

Interactive Theater -- the Research of Dramatic and Real Scenery

應夢萍(Meng-Ping Ying)

指導教授 ： 胡寶林

中原大學/設計學院/室內設計學系/碩士(2005年)

https://doi.org/10.6840/CYCU.2008.00424

摘要

近代的表演藝術形式已演變到可以隨時隨地發生，任何一個場域皆可以是表演場地，不受時空的限制。而其思想與表演方式如同文化的形成一樣，亦隨著社會的脈動和時代的移轉，從而建構為普及的形式與內涵。表演藝術不但根源於社會文化的基礎，且將意識形態及價值觀內化為自身的特質，反映著時代性之自由度。綜觀過去西方舞台形式的種類與演變，從希臘、羅馬、中世紀、文藝復興與巴洛克時期直至現代主義時期等，早期單純貴族式主客劃分的觀賞「儀式」，亦即所謂傳統「鏡框式舞台」的虛擬隔閡，已逐漸衍生出許多著重於打破舞台界線，朝身體導向式的近乎真實之場景來推陳。本文並且也列舉中國戲台的形式以及台灣野台戲與電子花車的本土文化，在舞台形式、演員表現與觀眾之間互動關係的轉變與革新，做概括的分析與比擬，進而重現台灣野台戲融入另類俗文化的生活貼近。自工業革命後，原本僅供貴族欣賞的表演，也普及至一般中下層階級的觀眾。宮廷劇院的場所，不再是階級分明的中上階級的專利與特權。表演團體漸而高呼口號：「走出劇院、走向戶外！」所以，這幾年來許多室內、室外的「環境劇場」，皆被催生，從此帶動了多元化「跨領域」之「互動式劇場」的表演形式。本文作者多年來觀賞多場實驗性之劇場，本研究又整理了相關的文獻及劇場理論，結合從空間與表演的觀察與紀錄，及表演工作者專業人士的訪談出發，嘗試以探究表演者－舞台－觀眾之間的過往經驗，在都市漫遊及交疊凝視中，相互碰撞的心理感受。由訪談詮釋所得下列兩種互動式舞台之臨場氛圍：結論其一為無界線劇場與觀眾心靈之互動，成為「場所精神」（The spirit of place）之環境劇場；其二為時間與空間的對比辯證，有面對面的自我批判氛圍，此時此地、無從取代，既虛擬又接近真實性的完整呈現，臨場感與漫遊感不可能被攝影或電影影像的「機械複製｣所覆蓋，在短距接觸中，更易產生班雅明（W. Benjamin）所謂的「時空辯證｣和「配置｣（constellation）、「相互感應｣（correspondences）的劇場經驗。今時性的表演氛圍、現場感、親臨感以及情緒在空氣中流竄、徘徊，刺激感官的震驚表現，成為可觸摸的文本。觀眾不再是觀賞，而是參與，劇場的省思刺激，更形強烈，因而可能併發「世俗的啟迪」。

關鍵字

互動式劇場 ； 環境劇場 ； 跨領域表演

並列摘要

The contemporary performing art form can take place anytime and anywhere, with any given location serving as the venue, unrestricted by space or time.  Ways of thinking and performing styles, as with the formation of culture itself, both vary with the movement of society and the change of time, eventually resulting in a prevailing set of practices, common in form and content.  Performing art not only originates from the foundations of social culture, but it also reflects the ear’s extent of freedom.Considering the innovation of stage forms throughout history, beginning with the Greco-Roman period, the medieval age, the Renaissance, and the Baroque period, and continuing on to Modernism of the present day, one can observe the evolution from the simplistic division of host and audience back in royal times, and the traditional “picture-frame” setting, to the semi-realistic ambience created by stage construction, breaking through the boundaries inherent to the stage.  We will also take a look at the Chinese opera stage, as well as the Taiwanese outdoor opera stand and “electric festooned beauty-vehicle,” to illustrate changes and innovations in stage form and interaction between performer and audience.  We conduct general analysis and comparison to bring new life to Taiwanese outdoor opera.After the Industrial Revolution, the performing arts once experienced exclusively by royal families became common among audiences comprised of members of the middle and lower classes, as going to the royal opera house was no longer a privilege enjoyed only by the upper class.  Performers eventually began to cry out: “Step out of opera house and into the great outdoors!”  Consequently, there have been many indoor- and outdoor- “environmental theaters” made possible in recent years, resulting in a multi-faceted “inter-territory” and “interactive theater” performance style.I have enjoined many experimental theater in Taiwan, this research will begin with the observation and documentation of space and performance theoris, as well as the spirit of space theory in order to explore their annotations regarding past conflicts among performer, stage, and audience.  Two types of stage “atmospheres” can be realized from the aforementioned theories. The first of these is a “heaven, earth, god, and man” environment, in which the boundary between performer and audience is removed, and is referred to as “the spirit of place.”  The second is the dialectic of space and time, in which there is a face-to-face, self-critical atmosphere that is right here, right now - irreplaceable, fictitious, and yet quite real.  The performance atmosphere and feeling of being engaged by a performance cannot be “cloned”, nor can they be shot with a camera or captured by a motion picture.  They help to create the “time and space dialectic,” “constellation,” and “correspondence” performance experiences (Benjamin).  The aura and vibe cast forth by the performance atmosphere result in an engaging, almost palpable sense-stimulating demonstration.  The audience not only watches, but also participates in, the performance, achieving a much stronger and much more vivid opportunity for stimulation and introspection, and making possible that which W. Benjamin refers to as “inspiration of the mundane.”

並列關鍵字

interactive theater. ； environmental theater ； inter-territory performance

參考文獻

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