中國傳統(tǒng)昆曲《牡丹亭》與數(shù)字媒體--互動表演和沉浸式戲劇

互動表演和沉浸式戲劇在這個新的數(shù)字時代的背景下出現(xiàn)在戲劇世界。在戲劇的世界里，如何在數(shù)字時代重組和重新定義戲劇世界，以達(dá)到預(yù)期的互動和沉浸的結(jié)果?戲劇中的身體、空間、時間與表演之間的關(guān)系是什么?它們?nèi)绾蜗嗷プ饔?如何重新設(shè)計劇院空間?如何在戲劇中創(chuàng)造一個身臨其境的空間?數(shù)字技術(shù)如何幫助觀眾扮演更具互動性的角色?

該項目提出了一種新的劇場形式，通過空間互動裝置設(shè)計來評估表演、空間和觀眾之間的關(guān)系，從而為觀眾提供一種身臨其境的體驗。通過使用數(shù)字技術(shù)和計算機(jī)編程(處理，unity, kinect，投影映射等)，可以創(chuàng)造一個新的敘述和沉浸式空間。我將研究一個基于表演的互動裝置的過程，它將支持戲劇空間的發(fā)展。在這個項目中，我選擇了中國傳統(tǒng)昆曲《牡丹亭》作為我的研究實例。昆曲是一種東方古典戲劇藝術(shù)形式?！赌档ねぁ芬詨魹槊浇橹v述了一個超越時空，甚至超越生死的愛情故事。盡管如此，數(shù)字技術(shù)的應(yīng)用可以帶來一種新的、更好的戲劇詮釋;古典戲劇與當(dāng)代數(shù)字藝術(shù)的碰撞與融合，有可能賦予歌劇新的生命。這是對《牡丹亭》的精神解讀，展現(xiàn)了女主人公杜麗娘對愛情的情感態(tài)度和對理想的勇敢執(zhí)著追求。鼓勵觀眾走進(jìn)無處不在的空間，在夢境中反思自己，實現(xiàn)一種互動體驗，讓自己沉浸在充滿內(nèi)在意識的戲劇世界中。


Interactive performance and immersive theatre are emerged in the world of dramaturgy in the context of this new digital age. In the world of dramaturgy, how may one recompose and redefine the world of dramaturgy in the digital age to achieve the desired results of interactivity and immersion? What is the relationship between body, space, time and performance in drama? How can they interact? How to redesign theatre space? How may one create an immersive space in dramaturgy? How can digital technology help the audience to take a more interactive role? This project proposes a new form of theatre with a spatial interactive installation design that will assess the relationship among performance, space and audience, thereby provid-ing the audience with a thoroughly immersive experience. By using digital technology and computer programming (processing, unity, kinect, projection mapping, etc) a new narrative and immersive space may be created. I shall investigate the process of a performance based interactive installation which will support the development of the dramatic space. For this project, I have selected the traditional Chinese Kunqu Opera, THE PEONY PAVIL-ION, as my research example. Kunqu Opera is an Eastern classical dramatic art form. THE PEONY PAVILION tells a love story through the medium of dream, which is beyond space and time, even beyond life and death. Nonetheless, the employment of digital technology can lead to a new and better theatrical interpretation; the collision and fusion of classical drama and contemporary digital art has the potential to give the opera a new lease of life. Furthermore, this is a spiritual read to The Peony Pavilion, demonstrating heroine Du Liniang’s emotional attitude towards love, and the brave and persistent pursuit after ideals. Audiences are encouraged to walk into the space everywhere, to reflect themselves in the dream, to achieve an interactive experience and to immerse themselves in the dramatic world which bring themselves inner awareness.