戲曲表演因子之人因探討

Ergonomics Factors in Chinese Opera Performance

王台瑞(Tai-Jui Wang) ； 林榮泰(Rung-Tai Lin)

《人因工程學刊》 15卷1期 (2013/03) Pp. 35-43

摘要

戲曲表演在形式上重視“經驗傳承”，表演者由教師“口傳心授”訓練過程中去領悟、記憶、內化、轉換、和展現，並以這種內外循環的認知過程，來發展符合自己的學習和創作模式，再藉以經驗的積累來創造屬於自己獨特的展演內涵與價值，而這種昇華式經驗之特殊表演形式，在動作設計與服裝和道具之創新發展上有其困難度。本研究旨趣乃基於傳統戲曲藝術如京劇、歌仔戲、客家戲…等等各劇種之間，有著戲曲表演之「有形的程式」與「無形的程式」的同質性技藝表現因子，以「心智模式」和「人因工程」來探討戲曲動作因子與設計因子的心智思維和人因分析之相關聯性，預期整理並歸結出一套具有相關學理基礎依據的「戲曲表演之動作與設計因子所薀涵的心智思維與人因分析模式」之研究流程與方法。

關鍵字

傳統戲曲 ； 心智模型 ； 人因工程 ； 表演因子 ； 設計因子

並列摘要

Chinese opera performers must be fostered to learning through the processes of realization, memorization, internalization, transformation, and representation for any performance. Theoretically, there are two main types of symbolized performance style. Chinese opera experts implied that the performing styles conveyed from the performer are tangible, but the performance methods are intangible. The movements of a tangible-stylized program are controlled by the formation of an intangible-stylized program. So, it is difficult to develop new acting movements with costumes and properties. According to the above, the purpose of this research is based on Peking opera, Taiwanese opera, Hakka opera, and other varieties of traditional Chinese opera which demonstrating movement performances of a stylized program shared by homogeneous contents of interoperability analyzed by mental models and ergonomics. Finally, an attempt of the study was to find relative performance factors and design factors which could be constructed by mental models and ergonomics based on Chinese opera pedagogic theory, and to create an analyzed model for approaching the purpose of this discussion.

並列關鍵字

Chinese opera ； Mental models ； Ergonomics ； Performance factors ； Design factors