觀賞空間數位化的趨勢與侷限：以巴黎歌劇院「第三表演廳」數位平台為例

近二十年，由於行動裝置、無線網路的進步與介入，當代人的生活從人與人面對面的交流、在實體空間的穿梭旅行，逐漸地轉向網路中的「虛擬空間」發展。虛擬空間的「彈性」與快速的「擴張性」，瓦解了物理空間的束縛、跳脫時間的框限，而網際網路所具備的「便利性」以及「流動性」，更使得群眾幾乎和手機、平版、筆記型電腦，這些「可移動的訊息載體」密不可分。該現象造就了虛擬空間對物理實在空間的涉入日漸加深，促使「混種游牧空間」的生成，更使其成為一常態性的存在。因此，各國甚至是各大企業，皆著手研擬「數位轉型」政策，以提高自身在國際社會上的能見度與競爭力。然而，表演藝術場域與特定的學者，像是班雅明、費蘭，皆高舉「現場性」的旗幟，並主張一旦對藝術創作進行「數位化」，將會摧毀其「本真性」與「靈韵」，甚至是降低了展演的藝術價值。但若以另一個角度思考，數位科技並非是藝術作品、表演藝術場域的威脅。一方面，行動裝置已經「身體化」成為人的感官知覺的延伸，使人們能夠感知虛擬空間以及數位內容；另一方面，數位內容不但強化了藝術作品的存在，更有助於觀眾的擴張、累積國家的「軟實力」，甚至是鞏固一國家在國際上的「文化權威」。本論文將會以巴黎歌劇院「第三表演廳」數位平台為例，論證實在空間與虛擬空間相互整合的可能性，以及其能夠為巴黎歌劇院所帶來的內∕外部效益。

關鍵字

混種游牧空間；數位轉型；高級文化普羅化；虛實整合行銷

並列摘要

In the past two decades, along with the technology advancement such as the widely-used wireless network and mobile device, people’s lives have gradually transformed from the “physical space” which features the face-to-face communication in the real world, to the “virtual space” that exists in internet. The virtual space has dissolved the boundaries for time and space with its flexibility and ability of rapid expansion. The efficiency and liquidity of the internet have made people inseparable with their information carriers, such as smart phone, tablet or laptop. Day after day, as people have becoming more attached to the abundant information available to them, the virtual space has encroached to their physical world, which provoked the booming of the “Hybrid Nomadic Space”, and it has become a new norm in our daily lives. Along with the rising of the Hybrid Nomadic Space, more and more developed countries and enterprises are formulating their own “digital transformation” policy in an effort to enhance their core competitiveness and visibility in the international society. However, at the same time, there are also debates among performance art fields and researchers of this specialty, including Walter Benjamin and Peggy Phelan, that the “liveness” is the most important component when it comes to the format of art; the arguments are that the digitalization as a form of presentation will destroy the “authenticity” and the “aura” of art, it will also bring down the art value of the creation. However, to considering the issue from a different perspective, advanced technologies should not be seen as a threat to art works or performance art. These new technologies have been individualized and have transformed into the extended perception of our daily lives which allowing people to literally sense the virtual space and digital contents. Further, those digitalized contents have not only been intensified by the way of experiencing them, such mean of presentation will also help developing more audiences worldwide. As such, it further benefits the accumulating of the “Soft Power”, and will eventually resulting to the consolidated “Cultural Authority” of a country. This thesis will use the “La 3e Scène” digital exhibition platform of the “Opéra National de Paris” as an example to discuss the possibility of the integration of physical space and virtual space; it will also examine the potential interior/exterior effectiveness brought to the Opéra National de Paris by adopting such digital exhibition platform.