漫畫《玻璃假面》表演技術之視覺表現形式分析

本研究旨在探究日本少女漫畫《玻璃假面》作者美內鈴惠（美內すずえ，1951-）如何以圖像語言說明演員在表演技術上的訓練與表現，對應史坦尼斯拉夫斯基（Constantin Stanislavsky，1863-1938）表演體系和科贊（Tadeusz Kowzan，1922-2010）的劇場符號系統，歸納分析美內鈴惠在畫面的視覺表現型態上，其慣用的圖像意涵與獨特的形式風格。本研究採用內容分析法的方式，進行表演技術畫面表現的探討分析，研究結論分別從人物造型（化妝、髮型、服裝）、情緒動作（表情肢體、背景、分格取景）、文字（對話框、狀聲字）等漫畫圖像語言進行共時性與歷時性的分析。本研究結果發現，共時性的圖像表現形式是在臉部表情與肢體動作上，透過分格取景的形式與背景、狀聲字、光影和漫符等多種組合進行指涉；文字多是傳遞情感與劇場氛圍的作用。而歷時性的圖像表現形式則從單一分格與連續分格的臉部表情與肢體動作描寫，以及狀聲字重複與漸變的表現型態、對話框置於斜向分格的間白之上，皆製造畫面空間的視覺導引，及心理時間的切換流轉。

關鍵字

少女漫畫；玻璃假面；美內鈴惠；表演技術

並列摘要

This study focuses on the comic: Glass Mask, exploreing how a Japanese comic writer, Suzue Miuchi uses visual language (images) to explicate the training received by the actors and actresses and their performance. It attempts to correspond to Stanislavky’s training of performing arts (Constantin Stanislavsky, 1863-1938), and Kowzan’s theater code system (Tadeusz Kowzan, 1922-2010) for analyzing and inducing Miuchi’s visual presentation of screen-based images, particularly its widely-known understanding about the meaning of image and unique characteristic of a style. The present study draws on “content analysis” approach to analyze Miuchi’s visual presentation of images of performing techniques. The analysis concentrates on synchronic and diachronic presentation, analyzing in terms of the character’s modeling (make-up, hairstyle, costume), emotions and actions (facial expressions and gestures, background, sub-grid viewer), text (dialogue, onomatopoeia), and other comic-related images. The results of this study reveal that synchronic image representation of visual images is realized by facial expressions and body movements, which are operated in forms and contexts of sub-grid viewfinder, onomatopoeia, shade, and comic referent in varying combinations. Verbal language is often used to convey emotions and has the function of establishing the atmosphere in a theatre. Diachronic image manifestation is achieved from a number of strategies: the single grid and consecutive-grid of facial expressions and body movements, the repetition of onomatopoeia, and the transforming representation of performing, the display of dialogue on the sidelong grid in the space between the segments. These strategies all enable to capture description of manufacturing space on the screen visual guide and psychological time-switching flow.