移動的銀幕：劇場現場性與觀演關係研究

Moving Screens: On Mobile Interfaces and Spectatorship

秦嘉嫄(Jia-Iuan Chin)

觀演關係 ； 銀幕 ； 現場性 ； 行動介面 ； 混種游牧空間 ； Spectatorship, Screen, Liveness, Mobil Interface, Hybrid Nomad Space

戲劇學刊

20期（2014 / 07 / 01）

97 - 118

繁體中文

在科技藝術與觀眾參與的斐然研究成果中，本文以移動的「銀幕」為線索，考察從大銀幕到手持銀幕的演變，並檢驗此演變對現場展演中觀演關係的影響。目標是透過對當代展演的個案研究，來檢視科技和觀眾研究的變遷，如何影響新世紀對現場（Live）展演作品的理論定義與美學變化。理論重點放在探討電影、劇場、行動介面的相關著述，逐步勾勒出從大銀幕、固定銀幕、再到行動介面的發展架構，分析從窺視／互視、黑暗／明亮、展示／參與的觀演理論，以此審視銀幕／現場錯綜複雜的關係，並闡述現場展演的最大特質不在於作品本身真實或虛擬，而在於展演和觀眾參與的動態空間。本文論證移動銀幕的效用，不僅僅是把大銀幕縮小，更重要的是以其移動特色，將觀眾引入社會脈絡的互相依存關係中，挑戰了固定觀演關係以及往昔現場展演的面對面定義。如此將現場展演之定義拓展至虛擬與實有空間之相遇移動，不僅將作品帶離被純粹展示的黑暗區域及固定位置，讓作品成為創作者、觀眾、公共空間與網路空間皆同時參與的一場互動，也重新讓電影、舞臺、美術館，可以放在一起討論，藉此展開對二十一世紀觀演關係獨特性的解讀。

By discussing the development of the screen, from the cinema screen to the moving handheld screen, this article traces the history of how spectatorship changed in the performance space. It illustrates a framework of how the screen and its spectatorship developed from fixed and static to a sort of mobile interface, along with the evolved aesthetic ideas such as multi-media, interactive, and nomadic, to argue that live performance requires not only lively performers but also the presence of both performer and spectator and the lived space where those presences meet. This article then explores the effects of moving screens through examining in detail the work of a number of practitioners who have contributed significantly to experiments in the field, and discusses the theory of ＂hybrid nomad space＂, that how the moving screens may lead the audience numbers into a pubic context and challenge common ideas such as the fixed ＂gaze＂ in film studies and the ＂liveness＂ in theatre studies. Such investigations tend to provoke the hybridization between virtual and physical spaces in order to make a performance an interaction between actors, audience numbers, public and private space. As a result, the discussions around moving screens will contribute to the research approach to incorporating film/theatre/ museum studies again and to re-interpret the significance of contemporary live performance and spectatorship in a new light in the 21st century.

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