京劇景物造型產生特殊效能的詮釋

Various Interpretations on the Special Effects Produced by the Senographic Elements in Peking Opear

廖燦輝(Tsan-Hui Liao)

《華岡藝術學報》 7期 (2003/06) Pp. 348-371

https://doi.org/10.6366/HKJTA.200306.0348

摘要

京劇舞台美術分為「人物造型」和「景物造型」兩大類型。景物舊稱砌末，在金元時代已派上用場，歷經元雜劇、明傳奇和崑劇的傳承，京劇的影物趨向完備，建立一套很有效益的保管制度。京劇的舞台是一個空的舞台，檢場人上台擺好景物之後，它只是一種中性的舞台裝置，沒有任何意義。當景物造型和人物表演結合起來，才產生環境景觀的含意。景物造型在舞台上具有記號的性質，傳統詮釋從靜態與動態、通用與專用、有形與無形、時間與空間、實物與代物、仿真與象徵等性格出發，舞台景物展現一般或特殊效能。接著討論布魯莎克的論點，分析視覺與聽覺的劇場記號系統。最後藉由記號的可轉換性，印證景物造型具有轉化的作用，景物、空間以及物人之間都能轉化，自然流動、空靈幻化，呈現無限的可能性。

並列摘要

The stage design of Beijing Opera is separated from characters and scenes. Though the time changes within the play, the stage design of the traditional Chinese theater helps set up a suite of safekeeping system. The stage of Beijing Opera is empty. After the persons in charge of the stage decorate with different kinds props, it's just like a neutral stage. It will create a new significance. When the screenplays and the performance get united. The scene is a symbol on the stage because it could show its exceptional efficiency, such as vision and hearing, visible and invisible. Meanwhile, scene could change time, space, props and characters easily. Therefore, the performing of the traditional opera set up the unique” Stage Design System”.