Selected in GOLDEN BEE Global Biennale of Graphic Design 2016

By analyzing the different style of music and the rhythm of the speci c to each character, gure, tonality, etc., the selection of appro- priate “lines”, “block face” as on the visual elements such as the transformation of language, through the selection to the vi- sual language constitute a different arrange- ment in abstract expresses the original play music temperament and the characters of the foil relationship.

Images provide a must not be object as a available for viewing, but that is how to be the center of the important event in the experience, and pictures of all the visual orientation of elements are taking
a guiding function, lead to another kind of line of sight. Because through the visual elements of the image outside the picture viewer is rolled into one, so the space relationship also has changed a eet- ing, realistic ction in the physical space and image space, see position with the position, reorgani- zation to become another kind of relationship: stage drama art expression, to express the characters in the picture, see the visual language, is restructuring into the same dimension, in the same position experience, no bystanders, planners, without being watched.

For example, Quasimodo as one of the main characters in the play from the right to play in the original show stage, and in the place such as to deduce the plot of the tragic fate in the left side of the stage, then the characters on the corresponding static visual images of the reading order is from left to right direction, the order of the element in reading order is extracted according to the performance and the character of the develop- ment of the plot sequence, in the speci c images of Quasimodo right you can see in the picture is in the crown “fools” good vision, picture is toward the bottom left of the increasingly show a character in the story of the con ict and related stage plot in the chaos of interpretation.

Visual elements in the distribution relationship of six images, also by combining images rather than to simply independent, in the form of frames, resulting from the last such present in front of all six of the combination of a set of forms, Esmeral- da at the center position, respectively arranged around a Quasimodo, Frollo, Phoebus, Gringoire and Clopin, such arrangement is derived from the original drama Esmeralda and several other role in the plot, the emotional entanglements and characters interwoven relationships of the play. Thus the same visual elements in between characters, the public, such as Esmeralda with Frollo by sharing prison prison visual symbol; And Quasimodo by sharing the coronation crown fool visual symbols, etc., at the same time Esmeralda characters relations and Quasimodo, Frollo, Phoebus and Gringoire, so huge dotted box over symbols, Esmeralda centered ve picture sharing. Thereby, not only can break the picture lea et appeared the lack of correlation, the form of combination also strengthen the in- teractivity between the images and the images, and the interaction between the image and the audience.

In the composition of the picture form feeling, also try to blend in “futuristic” form of expres- sion, namely the “multi view” and “speed” and “time”, although is a static visual images, but also produce time factor about motion, make the static image as possible to show the original show “time” and “space” of the artistic appeal.



入選 2016 『金蜜蜂』國際平面設計雙年展

本次對於法語版音樂劇『巴黎聖母院』靜態化視覺轉換的試驗設計,最初步的設想即通過對整部戲劇中舞台視覺元素與音樂元素的凝練、整合與提取,結合唱詞劇本中對故事情節的轉換和發展有關鍵性意義的唱詞,重構成一幅幅靜態的畫面,使得原本『時間』與『空間』結合的藝術形式轉化成為單純依靠『空間』概念呈現的戲劇表現形式。最初計劃每幅畫面表現一段故事情節,由於故事情節較多而課程作業時間較短,更改為每幅畫面表述一位劇中角色的整體氣質、命運與特徵等。

在對每個人物角色進行靜態化呈現的實踐過程中,也之直接延續原劇的構成方式,通過分析每個角色不同的音樂風格和具體的節奏、音型、調性等方面,選取相適合的『線條』、『塊面』等作為在視覺元素上的轉化語言,通過對選取到的視覺語言構成排列方式的不同以抽象的表達出原劇中音樂的氣質和對人物的烘托關係等環節。

在對舞台美術視覺元素中,在多場情節故事的發展和人物關係的構建裏會出現相同的舞台美術道具以及燈光投影等,由此在靜態視覺轉化的視覺元素提取中也繼續取用這些原劇中的標誌性視覺元素,並把這些元素進行平面的圖形和符號化重塑,以達到靜態化轉換過程中視覺語言的純粹,減少不必要的干擾項。
構圖方面。每幅畫面基本分為兩個層次,第一層為具體的關於原劇故事情節和人物氣質等的圖形化表達;第二層為相對應每幅表達人物的音樂抽象化視覺圖形的表達。兩個層次的內容在表現上相輔相成,共同對畫面對於原劇真實面貌的表達進行促進作用。而這些畫面上具象的和抽象的視覺元素的重構排列的順序和位置則嘗試按照原劇戲劇舞台的規則進行。譬如Quasimodo在劇目中作為最主要的人物角色在原劇舞台中從右側上場,並在演繹悲慘命運的情節等處居於舞台的左側,則該人物相對應的靜態視覺的畫面上的閱讀順序即從右上方向左下方進行,整個閱讀順序中出現的元素的先後則是按照提取出來的表現與該人物相關的故事情節的發展順序,在Quasimodo的具體畫面中就可以看到畫面的右上方是在被『愚人加冕』時的美好憧憬,畫面越往左下進行即越來越展現出人物在相應故事情節中的矛盾衝突和相關舞台情節中演繹的混亂場面。

另外,視覺元素在六幅畫面的分佈關係中,亦通過組合畫面的形式而非單純獨立的一張張畫面進行,由此得到了最後這樣呈現在大家眼前的六幅一組的組合形態,Esmeralda居於中心位置,周圍分別排列Quasimodo、Frollo、Phoebus、Gringoire和Clopin,這樣的安排方式源自原劇情節中Esmeralda與其他幾位角色的情感糾葛和人物相互交織的劇中關係。因而相同的視覺元素在角色間即公用,譬如Esmeralda與Frollo即共用監獄牢籠的視覺符號;與Quasimodo即共用愚人加冕的皇冠的視覺符號等,同時Esmeralda的人物關係與Quasimodo、Frollo、Phoebus和Gringoire相關聯,所以巨大的虛線框的籠罩符號則以Esmeralda為中心五幅畫面共用。藉此,不僅可以打破畫面單張出現時關聯性的欠缺,組合的形式也增強了畫面與畫面間的互動性以及畫面與觀者間的互動性。

畫面形式感的構成中,也嘗試融入『未來主義』的表達方式,即『多視點』、『速度』以及『時間』,雖然是經過靜態視覺化轉化的畫面,卻也產生時間因素左右的運動狀態,使靜態的畫面儘可能的表現出原劇『時間』+『空間』的行進著的藝術感染力。

配色方面。每幅畫面均以黑色和一種色彩組合的方式進行,使得畫面在色彩的表現上儘量純粹,而是觀者的注意力更多的集中在畫面的圖形關係中,以試圖達到通過靜態視覺化的圖像感受到原劇故事情節的邏輯性。而每幅畫面除卻黑色之外的另外一種顏色,均提取自相對應角色在劇中的服裝色彩、燈光基本色彩等。以此儘量遵循原劇舞台藝術的表現力的規則,而減少在語言轉化過程中制定新規則的情況產生。

畫面提供著的必定不是作為一個可供觀賞的對象,而是那個重要的中心事件是怎樣被經驗著的,畫面中的一切視覺為導向的元素都承擔著一種引導功能,引導著另一種視線的出現。由於透過畫面中的視覺元素將畫面外的觀者捲入其中,於是,空間關係也發生了轉瞬即逝的改變,現實的物理空間與畫面裏的虛構空間,看的位置與被看的位置,被重新組織成為另外一種關係:舞台戲劇藝術的表現力、畫面中表達的人物、觀看這些視覺語言的人,都被重組進同一維度中,處在同等的經驗位置,沒有旁觀者,沒有規劃者,沒有被觀看的人。那始終處於畫框外的中心事件,變成了三重視線共同關注的方向,共同去經驗的一種事件,哪裡才是空間的另一邊,它是在場的,卻既不在我們的物理空間中,也不在虛構中,或者說是在虛實兩界。嘗試是提取出的在畫面中重新構成的視覺元素都不再作為現代象徵解構中的意象,而獲得更加開放的意義空間。



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