課程大綱

內容

課程概述

自廿世紀以來，藝術和劇場理論的中心議題在於讚頌群眾的精確觀、聽、讀或是欣賞藝術的能力，這些能力和藝術家完成作品的創造力同屬重要。布萊希特於1935年提出的「觀看藝術」使得劇場理論轉向研究觀者。他更於1950年進一步地總結，觀者是劇場演出的中心，甚而就是其本身：「在劇場，只有兩種藝術值得發展，表演和觀看藝術。」在另外的學門也是一樣情況，例如宮布利希相關於「觀者的分擔」所提出的「指導性投射」是在印象主義繪畫時達到最高峰，觀者在觀看時的自願後退些距離，視覺上的轉化意圖達成藝術家們的目的。

Lauding people’s ability to effectively read, hear, or appreciate art, which is equivalent to the creativity of an artist in completing his or her artwork, has been a central topic in art and theatre since the twentieth century. Bertolt Brecht presented the concept of the “art of spectatorship (Zuschaukunst)” in 1935, and this concept shifted the paradigm of theories on theatre toward the role of spectators. Furthermore, he explicitly concluded that the spectator is at the center of a theatrical event, and hence at the center of theatre itself: “There are two arts in theatre worthy of developing—acting art and the art of spectatorship” (ca. 1950). The same is true of other disciplines; for example, “the guided projection” described by Ernst H. Gombrich refers to the “beholder’s share,” which culminates in the full appreciation of Impressionist paintings, with the beholder’s willingness to step back a short distance from a painting, the aim of the impressionists in transferring the intended visual experience to the beholder was successfully achieved.

授課內容

經典導讀和實例進度約2~3週，以課堂講授為主，配合課堂討論，期中、期末兩次評量落實教學成效。