「表演調度」（Performise）的實踐研究探索：以表演藝術作品《致深邃美麗的》（2017）為例

The Practice-as-Research Enquiry of 'Performise': Taking the Work of Performing Arts Enactor (2017)

10.6303/TDRJ.201812_(13).0002

吳怡瑱(Yi-Chen Wu)

表演調度 ； 場面調度 ； 表演性 ； 能動性 ； 在內行動 ； performise ； mise en scène ； performativity ； agency ； intra-action

台灣舞蹈研究

13期（2018 / 12 / 01）

29 - 60

繁體中文

本文的研究構想產生於筆者完整參與《致深邃美麗的》（2017）創作過程。該作品意圖透過靜止的舞台表演者，和以時間為基礎而運轉的機器裝置，形構一個無語言且無肢體的演出。筆者在此運用其慣常用來創作劇場設計時的實踐研究（Practice as Research）方法－亦即實作和理論被視為不可分離的研究過程－深化其對於表演性（performativity）理論的研究。創作過程中，筆者發現法國劇場符號學者Patrice Pavis（2013）的「performise」（筆者自譯為「表演調度」）概念－定義為一種主動的創造過程，包含導演、設計師、表演者和觀者共同參與的意義形構－與筆者的創作理念相近。「表演調度」幫助筆者不斷回頭思考更加核心的問題：什麼是當代表演藝術的「場面調度」（mise en scène）－通常被視為由導演掌控的場景組合以再現文本－而不只是去質問人和機器之間的關係。為了釐清《致深邃》中的「表演調度」和「場面調度」的不同，尤其是「表演調度」的空間概念，筆者提議討論兩個概念：1.Andy Lavender（2016）所說的能動性（agency）空間，意指擁有能觸發觀者主動回應作品之潛在能量的場域；2.Karen Barad（1997）主張具有此種能動性之自我，是為安放自身於行動之内。本文最終論點為：互動式的作品或許並非必須事先給予觀者指示；或可，實驗一種讓觀者賦有主動回應的責任，以形成充滿表演能量的場面佈局。

The research proposal emerged from the author's participation in creating the work of performing arts Enactor (2017). The work intends to converge silent performers, who sit still on chairs, with noisy mechanical instruments, which operate on a linear time-line, to constitute a non-linguistic and non-action performance. The author regularly employs the methodology of Practice as Research - an investigation process in which practice cannot be separated from theory - to work on theatre design for performing arts pieces in order to deepen the author's study on the theory of performativity. During the creation process, the author noticed that her design concept appeared compatible with Patric Pavis's (2013) semiotic notion of 'performise' which is defined as an active creative process during which the director, designer, performer, and the viewer together participate in a meaning-making process. The notion of 'performise' helps the author to continually rethink a core issue, namely 'what is ＂mise en scène＂ in contemporary performing arts' - the term, usually interpreted as setting-up scenes that are dominated by the director, is a prevail concept for the audio-visual representation of textual scripts - rather than merely throwing doubt on the relationship between humans and machines. In order to clarify the differences between 'performise', with its specific sense of space, and 'mise en scène', the author suggests to analyze in depth two discourses: 1. Andy Lavender's (2016) discussion on how agency is a field that is able to incite the viewer's active responses to the potential energy of the work; 2. Karen Barad's (1997) claim that such an agential self can be seen as placing onself within actions. This research concludes there is a3n alternative way: rather than providing the viewer with guidance before the performance begins, the proposed alternative is an experimental form of interactive performance which actively engages the viewer so that they must respond to the work. This alternative form of engagement involves a dynamic and improvisational configuration of performance energy.

1. Bacon, J. M.,Midgelow, V. L.(2014).Creative articulations process (CAP).Choreographic Practices,5(1),7-31.
2. Bacon, M. J.,Midgelow, V. L.(2010).Articulating choreographic practices, locating the field: An introduction.Choreographic Practices,1,3-19.
3. Balme, C. B.(2008).The Cambridge introduction to theatre studies.Cambridge, UK:Cambridge University Press.
4. Barad, K.(1996).Meeting the universe halfway: Realism and social constructivism without contradiction.Feminism, science, and the philosophy of science,Dordrecht, Netherlands:
5. Barrett, E.(Ed.),Bolt, E.(Ed.)(2014).Practice as research: Approaches to creative arts enquiry.London, UK:I. B. Tauris.
6. Bishop, C.(2012).Artificial hells: Participatory art and the politics of spectatorship.London, UK:Verso.
7. Buscher, M.(Ed.),Hughes, J.(Ed.),O’Brien, J.(Ed.),Rodden, T.(Ed.)(1998).Presence and representation in multimedia art and electronic landscapes (The Escape Project, Esprit Long Term Research).Lancaster, UK:Lancaster University, Computing Department.
8. Fischer-Lichte, E.,Jain, S. I.(Trans.)(2008).The transformative power of performance: A new aesthetics.London, UK:Routledge.
9. Hansen, M. B.(2006).Bodies in code: Interfaces with digital media.London, UK:Routledge.
10. Klich, R.,Scheer, E.(2012).Multimedia performance.New York, New York:Palgrave Macmillan.
11. Lavender, A.(2016).Performance in the twenty-first century: Theatres of engagement.New York, New York:Routledge.
12. Lavender, A.(2006).Mise en scène, hypermediacy and the sensorium.Intermediality in theatre and performance,Amsterdam, The Netherland:
13. Merleau-Ponty, M.,Lingis, A.(Trans.)(1968).The visible and the invisible, followed by working notes.Evanston, Illinois:Northwestern University Press.
14. Nelson, R.(2013).Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances.London, UK:Springer.
15. Obrist, H. U.,Raza, A.(2014).Ways of Curating.New York, New York:Farrar, Straus and Giroux.
16. Pavis, P.,Anderson, J.(Trans.)(2013).Contemporary Mise en Scène: Staging Theatre Today.London, UK:Routledge.
17. 吳怡瑢(2018)。實踐研究國際研討會2017-Part 5。小興興季刊，7
18. 吳怡瑱(2017)。傳記之前設敘述的可能：以威爾．布魯克爾的《如同大衛．鮑伊般活著》之計畫為例探討「實作即研究」（Practice as Research）的概念。跨界對談12─表演藝術研究學術研討會論文集，新北市:
19. 吳怡瑱(2017)。好朋友合作社─Pa1t。小興興季刊，5
20. 吳怡瑩(2017)。「實作即研究」（Practice as Research）方法如何探索默會知識（tacit knowledge）。小興興季刊，3

1. 林偉瑜(2022)。場面調度．表演事件－歐陸劇場表演分析的兩大取向及其侷限。戲劇研究，30，139-187。