题名

圖像的誘惑：探繪劇場圖像學的理論發展與分析架構

并列篇名

The Seduction of Pictorial Images: Mapping the Theoretical Development of Theatre Iconography and Its Analytical Framework

DOI

10.6257/JOTS.2017.19135

作者

林雯玲(Wen-ling LIN)

关键词

劇場圖像學 ； 社會形構 ； 劇場史學 ； 文化研究 ； 歐文．帕諾夫斯基 ； theatre iconography ； social formation ； theatre historiography ； cultural studies ； Erwin Panofsky

期刊名称

戲劇研究

卷期/出版年月

19期（2017 / 01 / 01）

页次

135 - 187

内容语文

繁體中文
中文摘要

劇場史學家在拼湊、重建過去的劇場面貌時，除了仰賴各式文字記錄，出現在不同媒介的劇場圖像─可能指涉和劇場相關的演出、人物或成規的圖像再現─更是重要史料。無聲的圖像誘惑、挑逗著興奮的劇場史學家們佐以各式文獻來挖掘、分析圖像可能訴說的劇場事。這個充滿豐富的可能性，卻又隱含各式詮釋陷阱的追尋乃劇場圖像學（Theatre Iconography）的開端。此學門從符號學及由藝術史學家歐文．帕諾夫斯基（Erwin Panofsky）為主要人物奠立的現代圖像學衍生發展，到一九九Ｏ年代的西方已是一個成熟、獨立的領域，但在臺灣卻是相對陌生的。本文有兩大主要目標，一是透過爬梳先前圖像學相關文獻與重新審視帕氏理論，利用帕氏圖像分析強調理解圖像的藝術、歷史、和文化脈絡來作為歸納統整劇場圖像的史學研究陷阱，以提供實際應用的考核方法，同時佐以西方經典劇場圖像為例說明。其次，為突破劇場圖像僅作為證據的侷限，並開拓其多元的研究面向，依圖像生產方式分為三期，嘗試測繪一個相對應、跨領域的劇場圖像分析架構：包括（1）經由劇場圖像來考證某一個演出或某一時期的劇場現象，可能與舞台、人物角色、服裝、演技方法等相關的劇場史學研究，演化到（2）文化研究的範疇，視劇場圖像為多重文化力量角力的結果，審視它揭露的「社會形構」，而不盡然是再現一個演出。爾後，再從文化研究進一步獨立出來，邁入（3）「表演」研究的範疇。一則是強調圖像的表演性，視可大量流通、以演員為主的圖像為一種展演，挖掘該展演如何利用對階層、族群或性別意識的操弄，以達形象塑造或行銷的目的。其次，「表演」為字面意義，透過分析科技圖像研究導演的製作演出形式或演員的呈現。最後，結論部分審視臺灣目前圖像學相關研究，討論西方劇場圖像理論跨文化應用的可能性，亦即它和相近學門戲曲文物研究的初步對話。
英文摘要

To reconstruct what theatre in the past was like, theatre historians not only rely on written records, but turn to pictorial images that may represent or refer to elements in theatre. Such mute pictures greatly seduce theatre historians to speak for them, to analyze what they may tell us about past theatre events. This quest, promising and yet full of traps of interpretation, forms the beginning of the study of theatre iconography. Drawing first on semiotics and the theory of iconography by Erwin Panofsky, this discipline has evolved and was already well-established in the west by the 1990s, but it remains an unexplored territory in Taiwan. This article aims to provide ways to systematically examine the traps of interpreting theatre pictorial images for constructing past theatrical practices. In this part, I first map the development of theatre iconography in the west, re-examine the key concepts of Panofsky, and put his analytical methods in a new perspective to summarize the traps. A wide category of canonical theatrical images provides examples. In addition, to bring the study of theatre pictorial images out of the confinement of serving as evidence only, this article attempts to provide a multidisciplinary theoretical framework of theatre iconography corresponding to three periods of image production based on the development of technology. Accordingly, it starts with theatre historiography and evolves into cultural studies, examining respectively how pictorial images may reveal important conventions about theatre, and how they disclose ＂social formation＂ or the cultural codes that govern the society. Further growing out of cultural studies is the third framework, ＂performance＂ studies. On the one hand, it sees pictorial images of actors in the age of mechanical production as a conscious performance and analyzes how these performances may play with race, ethnicity, gender, or sexuality to achieve the goals of image-shaping and marketing. On the other, through so-called technical photos, it refers to the study of the theatrical productions of the directors or the acting of the actors. Finally, in the conclusion, I examine research in Taiwan that is related to theatre iconography and further consider the application of the analytical framework drawn up by this research to theatre studies in Taiwan.
主题分类 人文學 > 藝術
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被引用次数
  1. 林雯玲(2019)。閱讀威廉．霍加斯的《賈里克扮演理查三世》圖像：作為劇場文件與社會文本。藝術學研究，24，81-149。
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