市民場所的創造─小劇場聯盟暨附屬空間設計

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 建築學系所 > 碩士論文 > Item 310901/6408

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/6408

Title:	市民場所的創造─小劇場聯盟暨附屬空間設計
Other Titles:	Create the Civil Place─The Design of the Avant-garde Union
Authors:	黃彥謀 Huang, Yen-Mo
Contributors:	郭肇立 Kou, Chao-Lee 東海大學建築學系
Keywords:	市民場所;解構批判;差異地點;塑像劇場 civil place;deconstructing criticism;heteropias;sculpturing theatre
Date:	2000
Issue Date:	2011-05-25T09:24:06Z (UTC)
Abstract:	摘要在傳統的正式劇院之外，應該存在著更多帶有前衛實驗色彩、具有活力，並且街頭性格強烈的劇場形式，而這些多元化、具地方性的表演行為，正陳述著一個『由下而上』的市民社會成形，藝術文化所顯現的內容是老百姓們所由爭而發的，不再是政府教導之下的政令文宣。而此篇論文設計所關心的即是一個市民劇場的塑造。藉由解構批判的角度，審視前衛劇場於傳統戲劇體制中的變革，並引入差異地點、塑像劇場、意象劇場、環境劇場等相關論述的觀念，進而重新詮釋從論述所解析出的概念與特質，建立個人看法，經由『重複閱讀』，產生來自文本的『增值』、『增添』，重構劇場建築的可能性。劇場空間的重構方式再此篇論文設計中，作了四個進程的陳述： 1. 觀眾與表演者之關係再定位：揚棄舊劇場建築的主要因素，即是其僵化的『表演者─觀眾』關係，不僅限制了戲劇形式的可能性，亦讓觀者習於被動，因此重組觀者與演出者的關係，是思考新的劇場空間的第一步。 2. 整體空間：演出空間，或應稱作戲劇空間之擴大為舉目所見的世界，是謝喜納所提出對於實驗劇場思考新空間的貢獻，我們或可說因為戲劇存在，所以某地為劇場之所在。 3. 活動：繼謝喜納（Richard Schechner）的概念而來，是否即不需要劇場建築了？筆者以為『活動』本身才是應該重視的，城市生活即是劇場的一部分，這是種對於體驗生活的鼓勵，而真正影響劇場空間的各種活動，應該成為具有兩種性格的主角，即是觀者與被觀者，以此解開傳統劇院的束縛。 4. 意外的介入：劇場既是生活的一部份，自然該有其包容意外的能力，就如街道劇場的演出，除了演員、觀眾外，叫賣的小販、路過的卡車司機，亦是無預警的戲劇元素之一，甚至進而成為某段時間中的主角，至此，表演不再只是『well-defined』的活動。這是個實驗，一個在眾多強調『市民理念』論述的環境之中，將之『模擬實踐』的實驗。關鍵字：市民場所、解構批判、差異空間、塑像劇場 Abstract Other than the traditional formal theatres , theatres with experiment means and avant-garde intentions should also exist . Theatres with the character of multi-dimension and locality tell a story of how a civil society is formed . The content of the culture , with the name Art , no longer shows the propaganda of the government , but the deep passions and emotions of civilian. Sculpturing a theatre for civilian is the aim of this thesis . Examining the revolution of avant-garde theatres in the system of tradition from deconstruction point of view and introducing heteropia , sculpturing theatre , environmental theatre , etc , to redefine the properties and intentions derived from the analysis of the various discourse and establish a personal point of view . Hence by the “repeated reading” , it may generate some odds from the text to reconstruct the theatre architecture . 4 phases of Reconstruction theatre spaces : 1. Redefinition of “Audience-Performer” relationship The main reason for abandoning the old styled theatre architecture is the stiffened “Performer-Audience” relationship . It , not only limited the forms of performance, but also let the audience been accustomed to be passive . Regrouping the relationship of audience and performers is the first step in considering a new theatre space . 2. Space at large Performance space , expanded to become the world to be seen , is the contribution made by Schechner in considering a new space for experimental theatres . Another way of looking at Schechner’s view is that maybe a theatre exist , because a performance takes place at that point . 3. Activity Following the thoughts of Schechner, is theatre architecture no longer necessary ? According to Schechner “Activity” itself should be the focus , city life is a part of the theatre . This is an attitude of experiencing life and really influence the activities that occur in the theatre space . Hence two main characters would be created , the “Watched” and the “Watching” , and it’s the key of unlocking the limitations of traditional theatre . 4. Accidental Involvement If theatre is a part of life , it should naturally contain the ability of taking in accidents . As road-side performance take in the passers-by as elements of the performance other than its performers . To an extent, these passers-by may even become the focus at particular time periods . At this point , performance is not to consider as a “well-defined” activity anymore . This is an experiment , an experiment in the environment filled with the idealism of civilian and I try to carry it out in fiction . Key words : civil place , deconstructing criticism , heteropia , sculpturing theatre
Appears in Collections:	[建築學系所] 碩士論文

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