傑出表演藝術家創作歷程之探析
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Date
2006-10-??
Authors
陳昭儀
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國立臺灣師範大學研究發展處
Office of Research and Development
Office of Research and Development
Abstract
本研究乃是邀請六位傑出表演藝術家成為研究參與者，經由深度訪談及蒐集相關文件資料的方式進行複式個案研究，據以瞭解傑出表演藝術家之創作歷程。根據研究 發現與探討，將表演藝術家之創作歷程分為以下六個階段： 1.集材：來自於平日的閱讀、音樂的收集、旅遊的觀察、生活的歷練以及其他類藝術的觀摩等。 2.主題構想與刺激連結：從事藝術創作需先有自己的概念與主題的構想，其中包含可能的刺激連結。 3.內容的構思：內容的構思包含主架構的確立、動作的構想、形成整體畫面。 4.具體化、空間化、舞臺呈現的可能性。 5.修正作品的可能性、行政溝通與團隊的互相配合。 6.作品的呈現、觀眾的回饋支持：演出就像與觀眾產生對流，並產生想像的延伸。
The participants in this research study were six distinguished performing artists. Case studies were used as the framework for in-depth interviews and data collection. The creative process of artists was divided into the following six stages. First, materials gathering: most materials came from daily reading, music appreciation, observations while traveling, life experiences and art exhibitions. The second stage was theme formation: first came the themes, and stimuli association followed. The third stage was content mapping: this included the establishment of a theme structure, thinking about action, and the formation of the whole picture. Fourth was the probability of embodiment and stage presentation: the aim here was to transfer the theme into workable ideas, and even visualizations. Fifth came the review of works: as stage presentation was the result of teamwork, it called for all the parts to be well-connected. Finally there was the presentation of works: presentation involved having a counter-stream with the audience, leading to increased use of the imagination.
The participants in this research study were six distinguished performing artists. Case studies were used as the framework for in-depth interviews and data collection. The creative process of artists was divided into the following six stages. First, materials gathering: most materials came from daily reading, music appreciation, observations while traveling, life experiences and art exhibitions. The second stage was theme formation: first came the themes, and stimuli association followed. The third stage was content mapping: this included the establishment of a theme structure, thinking about action, and the formation of the whole picture. Fourth was the probability of embodiment and stage presentation: the aim here was to transfer the theme into workable ideas, and even visualizations. Fifth came the review of works: as stage presentation was the result of teamwork, it called for all the parts to be well-connected. Finally there was the presentation of works: presentation involved having a counter-stream with the audience, leading to increased use of the imagination.