DSpace community: 藝術學研究所

意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間;意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間

title: 意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間;意圖入座、接受挑釁──論黃華成表演文本的後設策略與渾濁空間 abstract: 黃華成（1935-1996）六零年代起跨足小說、美術設計、實驗影像、電影劇本、前衛展覽，多方媒材創作不輟，被追認為臺灣裝置藝術與觀念藝術先驅。在其生涯佚事和佚作仍待後人補遺之際，本文意在指出「黃華成的方法論」，以及「黃華成研究的方法」尚未開發之處。自檢視其「寫作計畫表」手稿出發，本研究在方法上總是關於雙向的時域「迴返」：探看黃華成所身處的六零年代文化環境條件，同時也檢視其創作如何與當代藝術視角的回返趨力交映織構。本文使用「表演文本」一詞，將黃華成在《劇場》雜誌（1965-1968）首先發表的原創作品，亦為其第一齣舞台短劇〈先知〉（1965），與病歿前策劃的「大台北畫派30年」活人告別式展覽，視為其表演性創作圖譜極簡與極盛的兩個端點。期間穿插黃華成在影像實驗、設計實踐和藝術提案的表演面向為例，敘明黃華成譜寫、執行表演文本的重要方法之一為宣言表演。而「宣言」總是指向黃華成借抄寫員角色之口提出的「大計畫」──元計畫，關於計畫的計畫，行動的行動，劇本的劇本，是元（meta）關於意旨本身、後設和超越之意。當「宣言表演」交會「後設策略」，表演的言說行動者遂成為不可盡信之人，創作者常以自我調侃和自省，以及玩笑、把戲、悲喜鬧劇、騙局等手段，輔以污穢與瀆神的筆法，將作品變造為一處渾濁化空間，在既有的概念分隔門檻上，懸置且玩忽。第一章分析黃華成的舞台劇本如何與空間裝置共構，呈現在觀眾席的演出，藉此偷渡對於僵化觀／演關係的慣習冒犯與觀念挑釁；第二章，試論蘇育賢《先知》錄像裝置（2016）的檔案行動與展場布置，如何作為原作劇本的後製與擴延版本。第三章接續舞台設計論題，以未製作的〈佈景〉（1965）與未發表的〈淨身〉（1966）劇本為例，探討污穢書寫如何干擾了劇場／世界，神聖／世俗，藝術／生活之間的界分扞格，並以黃華成作品內部諸種宣言行動的互文關係，延伸到第四章，展開關於「大台北畫派宣言」發表介面，包括「大台北畫派秋展」和畫派十周年、三十周年紀念活動的討論，聚焦於事件性，並觀測黃華成創作版圖預設的「虛線」與付諸實行的「實線」之間的交會和異軌，及其所體現的創作方法與姿態。;Huang Hua-Cheng (1935–1996) was a restless polymath who， since the 1960s， traversed the realms of fiction， graphic design， experimental cinema， screenwriting， and avant-garde exhibitions. Today， he is retrospectively recognized as a pioneer of installation and conceptual art in Taiwan. While many of his anecdotes and "lost works" await rediscovery， this paper aims to delineate the untapped territories within both "Huang’s methodology" and the "methodology of studying Huang." Starting with an examination of his handwritten ′Writing Project Lists，′ this research methodologically operates through a bidirectional temporal ′recursive′ process: exploring the cultural conditions of the 1960s in which Huang was situated， while simultaneously examining how his creative output is interlaced with the drives of return within the contemporary artistic gaze. This paper adopts the term "performance texts" to bridge two temporal extremities in Huang’s performative map: his debut original play The Prophet (1965)， first published in Theatre Quarterly (1965-1968)， and his self-staged "living funeral" exhibition， The 30th Anniversary of the École de Great Taipei， held shortly before his passing. By interlacing examples from Huang’s experimental imagery， design practices， and artistic proposals， this study elucidates that "manifesto-performance" serves as a primary method in his orchestration and execution of performance texts. These "manifestos" consistently point toward a "Grand Project"—a meta-project voiced through the persona of a scribe. It is a project of projects， an action of actions， and a script of scripts; it embodies the "meta" in its sense of intention， self-reflexivity， and transcendence. When manifesto-performance intersects with meta-strategies， the performative agent becomes an unreliable narrator. Through self-mockery， introspection， and the deployment of jokes， tricks， tragicomic farces， and hoaxes—often rendered with a touch of profanation and filth—Huang’s work transmutes into a profane space. Within this space， the thresholds of established conceptual categories are suspended and returned to a state of play. The first chapter analyzes how Huang’s stage scripts co-constitute with spatial installations to relocate the "performance" into the audience’s seating area， smuggling in a conceptual provocation against the habits governing the acts of beholding and performing. The second chapter examines Su Yu-Hsien’s video installation The Prophet (2016) as an archival act and exhibitionary arrangement， exploring how it functions as a post-production and expansion of the original 1965 script. Shifting to Huang’s stage design， the third chapter utilizes the unproduced The Scenery (1965) and the unpublished The Unholy Ablutions (1966) to discuss how "filthy writing" corrodes the thresholds between theater/world， sacred/secular， and art/life. Finally， the fourth chapter traces the intertextual manifesto-actions within Huang’s oeuvre to the interfaces of the Manifesto of the École de Great Taipei， including its Autumn Exhibition and the 10th and 30th-anniversary events. By focusing on "eventness，" this study observes the convergence and divergence between the "dotted lines" and "solid lines" in Huang’s creative map， thereby elucidating his idiosyncratic creative posture and methodology.

臺灣山、臺灣海——鄭善禧的山水畫研究;臺灣山、臺灣海——鄭善禧的山水畫研究

title: 臺灣山、臺灣海——鄭善禧的山水畫研究;臺灣山、臺灣海——鄭善禧的山水畫研究 abstract: 鄭善禧（1932-），出生於福建漳州，1950年移居臺灣，是一位臺灣水墨畫家、書法家及教授。1997年，榮獲首屆「國家文化藝術基金會文藝獎」美術類獎項；2017年，獲頒行政院文化獎。2024年，獲教育部「藝術教育貢獻獎」終身成就獎。其創作題材廣泛多元，善於自生活經驗中汲取靈感，以其具有臺灣本土色彩、民間藝術的樸實與兒童天趣的表現特質而聞名。作品兼具傳統詩、書、畫修養與西洋繪畫媒材運用。在橫跨半世紀以上的創作與教育生涯中，其山水作品數量豐富且持續不斷，為其創作中具重要性的畫類之一。本文以鄭善禧山水彩墨作品為研究對象，透過圖像分析、文獻探討與作品比較，探討其如何建立個人化的彩墨表現。本文也進一步將鄭善禧被稱為「濃墨重彩」或「彩墨風格」的概括描述，轉化為更具體的解釋。同時，本文亦分析其作品所呈現之樸實趣味的創作氣質，並回應其在1970年代被納入鄉土繪畫脈絡之意涵。最後，透過對鄭善禧長期山水創作的考察，探討其在面對臺灣不同地景面貌與表達個人感受之際，如何展現出兼具地域特質、時代性與個人風格的臺灣山水樣貌。鄭善禧的山水彩墨創作，不僅展現其融合傳統筆墨、現代色彩與現世生活，也呈現出臺灣山水畫在地景再現、視覺形式與文化認同上的多重面向。;Cheng Shan-Hsi (1932- )， born in Zhangzhou， Fujian， relocated to Taiwan in 1950. He is a Taiwanese ink painter， calligrapher， and professor. In 1997， he received the First “National Award for Arts ”-Fine Arts category; in 2017， he was honored with the Executive Yuan National Cultural Award; and in 2024， he was awarded the Lifetime Achievement Award， Ministry of Education “Arts Education Contribution Award”. His works encompass a wide range of subjects， drawing inspirations from everyday life， and are renowned for their distinctly Taiwanese local character， rustic folk qualities， and childlike expressiveness. His art integrates the traditional literati cultivation of poetry， calligraphy， and painting with the use of Western painting materials. Across a creative and teaching career spanning more than half a century， landscape painting has remained a significant and prolific category within his oeuvre. This study focuses on Cheng Shan-Hsi’s color ink landscape paintings， employing image analysis， literature review， and comparative methods to explore how he developed a personalized mode of color ink expression. It further seeks to translate generalized descriptions such as “dense ink and rich color” or “color ink style” into more precise interpretations. In addition， this study examines the unadorned and playful qualities present in his works， responding to their classification within the context of nativist painting in the 1970s. Finally， through an examination of Cheng’s long-term engagement with landscape painting， this study investigates how he represents Taiwan’s diverse terrains while expressing personal sensibilities， thereby articulating a form of Taiwanese landscape that integrates regional characteristics， historical context， and individual style. Cheng Shan-Hsi’s color ink landscapes not only demonstrate a synthesis of traditional brushwork， modern color， and lived experience， but also reveal the multiple dimensions of Taiwanese landscape painting in terms of spatial representation， visual form， and cultural identity.

身體檔案與「分心美學」：從有形 / 無形遺存看「當代表演」的混合式記錄課題;Body Archives and the "Aesthetics of Distraction": a Study of Hybrid Documentation in "Contemporary Performance" through the Lens of (In)Tangible Remains

title: 身體檔案與「分心美學」：從有形 / 無形遺存看「當代表演」的混合式記錄課題;Body Archives and the "Aesthetics of Distraction": a Study of Hybrid Documentation in "Contemporary Performance" through the Lens of (In)Tangible Remains abstract: 一、本研究計畫期望深入探討「規範性注意力」的歷史條件，為「當代表演」經常預設的多重在場狀態及複合式觀演關係進行辯駁。數位科技的批判者，經常將長時專注、緩慢閱讀，以及靜默凝視當作唯一合法的鑑賞方式，並將當代觀眾使用手機、交談或隨意走動的現象視為專注力的喪失或墮落。然而，本研究期望透過一種「分心美學」（Aesthetics of Distraction）的深入探討，指出「分心」不應該被病理化，而「當代表演」所提供的「混合式記錄」條件，事實上可以起到連結可見檔案與不可見身體銘刻的關鍵作用，為理解今日的藝術感知模式提供一條新的思路。二、本計畫結合Diana Taylor的「庫藏」（Repertoire）論述與Rebecca Schneider的「遺存」（remains）概念，深入挖掘「身體檔案」（Body Archive）的理論內涵，並進一步點出「當代表演」中的身體（無論是創作者還是觀眾）可以成為反覆收藏、提取、轉化及重新演繹歷史記憶的活性資料庫。透過梳理關鍵的美學理論交鋒，本計畫試圖指出身體如何作為展演性遺存的匯聚網絡，並且在官方檔案失效或法律禁錮之時，成為知識移轉與復活的關鍵節點。這條研究取徑能夠進一步擴充展覽史的書寫範疇，同時也能修正既有的檔案建置邏輯。三、「當代表演」的展演型態日益複雜，其所設定的互動情境與現場氛圍，往往超出傳統影音紀錄的能力之外；希望瞭解其全貌的不在場觀眾與研究者，也時常在物質性遺存（實體檔案）與非物質性遺存（具身實踐、姿態、記憶）之間顧此失彼。本計畫期望透過「操演即建檔」（performing as archiving）的概念進一步為這個難題找到解方。藉由銜接過去的研究成果：「重現行動」（reenactment）與「當代表演」的結合案例，這項研究試圖說明重現行動的實踐方法一方面可以將歷史重新在場化（re-presencing），另一方面也能讓展演性遺存「動態存檔」，使其如軟體一般更新、迭代，甚至在後人的反覆審視及研討中，獲得再次媒介化（re-mediation）的契機。

1990-2010年代攝影中的情動力地景研究;A Study of Affective Landscapes in Photography, 1990s–2010s

title: 1990-2010年代攝影中的情動力地景研究;A Study of Affective Landscapes in Photography, 1990s–2010s abstract: 本計畫在學術研究之預期貢獻在於，首度凸顯台灣當代攝影在情動力地景方面的深刻意義，梳理作品中遷移和歸屬的文化脈絡，探討農業環境和原住民狩獵傳統的危殆處境，分析壓抑和釋放的身體感應和情緒空間。本研究彰顯情動力地景在當代藝術與攝影上的特殊意義，著重地景中的關係性和存在於世界的方式，析論具身化意識（embodied consciousness）和環境空間交織的主要途徑。透過小寫的複數歷史，關注不同族群的地景經驗、不同創作者的關係網絡，以及對於在地多物種生命的倫理和美學反思。