「包浩斯劇場」視覺體驗之認知研究

成立於1919年的包浩斯（Bauhaus），徹底打破舊的思維，提出了全新的設計理念，對不同設計與藝術門類進行整合，影響了設計與藝術的發展，造就二十世紀現代設計的風華。與建築、產品設計相比，對「包浩斯劇場」略顯陌生。作為一個沒有任何先例可參考的「表演藝術」，包浩斯劇場的嘗試，可以看作一次成功整合「設計」與「藝術」的跨領域藝術佳作。本研究的主要目的在探討包浩斯劇場形成的背景與設計理念，透過視覺體驗的認知加以解析並提出未來跨領域合作應用於「表演藝術」的優勢。因此，本研究提出一個以包浩斯劇場為核心理念，及藝術作品傳播模式所建構的評量準則，以包浩斯劇場《三人芭蕾》（Triadic Ballet）為研究樣本。通過問卷調查與分析，評估當時劇場藝術的概念與理論，瞭解現代受眾者對這樣一齣劇的態度與看法。研究結果顯示，百年前這一齣沒有台詞，全靠視覺與動作塑造的前衛藝術，符合當前受眾者的口味與喜好。來自不同性別、年齡層的受眾，對包浩斯劇場的認同感與喜好度均能給予正面的評價。再者，專業背景的受眾給予的評價略高於一般人，這也符合藝術創作與傳播的理論：藝術作品由專業人士發想、創作，能被一般受眾接納與欣賞。最後則進一步探討當時的創作理念如何有效地與當下設計與藝術思維的交融，提供未來創作跨領域表演藝術參考之發展方向。

關鍵字

包浩斯劇場；認知評量；視覺體驗；跨領域表演藝術

並列摘要

Founded in 1919, Bauhaus had completely broken the traditional thinking and proposed a brand new concept for design. It had integrated different categories between designs and fine arts, and also affected the development of design and arts, creating the brilliance of modern design in the 20th century. Compared with architecture and product design, the Bauhaus Theatre is a bit unfamiliar to the public. As a ＂performing arts＂ without any precedent, the Bauhaus Theatre's attempt can be seen as a cross-disciplinary masterpiece of successful integration of ＂design＂ and ＂arts＂. The main purpose of this study is to explore the background and intrinsic concepts of the Bauhaus Theatre and the advantages of this cross-disciplinary collaboration in the performing arts. Therefore, this study proposes a methodology based on the core idea of the Bauhaus Theatre and the communication models for works of art as the research sample. Through questionnaires and analysis, the research evaluates the concept and theory of theater art at that time in order to understand the attitudes and opinions of current audiences on such play. The results of the study show that this avant-garde art performance from 100 years ago, created by only vision and movement, complies with standard tastes and preferences to the current audience. Audiences from different genders and age groups do not have significant differences between the identity and preferences of the Bauhaus Theater; furthermore, they all offered positive comments. The audiences with professional background give a slightly higher evaluation than the average. This is also in line with the theory of artistic creation and communication that even though art works are thought-provoked and created by professionals, they can be accepted and appreciated by the general public. Further explorations considered how the past creative concept can be effectively blended with current design and artistic thinking, and provided a reference for future developments similar to this direction of performing arts.

並列關鍵字

Bauhaus Theater ； Cognitive Assessment ； Aesthetic Experience ； Cross-disciplinary Arts

參考文獻

Birringer, J. (2013). Bauhaus, constructivism, performance. PAJ: A Journal of Performance and Art, 35(2), 39-52. doi:10.1162/pajj_a_00145

Craig. R. T. (1999). Communication theory as a field. Communication Theory, 9(2), 119-161. doi:10.1111/j.1468-2885.1999.tb00355.x

Kant, M. (2015). Oscar Schlemmer’s triadic ballet (Paris, 1932) and dance discourse in Germany. Three letters with annotation and a commentary. Dance Research, 33(1), 16-30. doi:10.3366/drs.2015.0121

Koss, J. (2003). Bauhaus theater of human dolls. The Art Bulletin, 85(4), 724-745. doi:10.2307/3177367

Lahusen, S. (1986). Oskar Schlemmer: Mechanical ballets? Dance Research: The Journal of the Society for Dance Research, 4(2), 65-77. doi:10.2307/1290727

國際替代計量

「包浩斯劇場」視覺體驗之認知研究

全文下載

主題瀏覽