当今舞美设计中视觉元素“形似”与“神似”的价值考量  

Evaluations on the “Likeness in Shape and in Spirit” in the Visual Elements of Today's Stage Design

作　　者：潘健华[1] 倪洁诚[2] 

机构地区：[1]上海戏剧学院舞台美术系 [2]上海工程技术大学服装学院

出　　处：《戏剧艺术》2015年第3期13-19,I0004,共8页Theatre Arts

摘　　要：舞美设计中视觉元素"形似"与"神似"的观念,是针对当今戏剧逐步走向市场化、商品化所引发的一系列现象而提出的。当观众面临更多选择,而舞美技术发展又让观众享受更多的视觉艺术时,需要厘清并把握两者的关系,避免设计游离于内容。只有"形神兼备"才是立意的根本,这意味着舞美设计要符合舞台美术的特质属性与功能需求,要与剧目情节相配合并与演出内容相贴切。舞美设计中视觉元素的"形神兼备",不同于一般的绘画和环境设计艺术。它既要提供舞台表演的完美空间性,符合戏剧的规定性,又要存适于戏剧演出的诸因素关系链中。其真谛在于使视觉形象与戏剧演出的内在规律、逻辑相吻合,而不是以求"神似"为借口,用浮夸、奢华的多媒体和拼贴技术来标榜创新。戏剧功能的不断变化要求舞美设计师在迎接复杂的美学思潮与哲学观念的挑战中,不失本体思考。The idea reflecting one aspect of the traditional Chinese painting as ＂likeness in shape and in spirit＂ in the visual elements of stage design is used to tackle problems in the commercialization of the theatre. As there are now more choices for audiences and more possibilities in visual effects with the development of stage technology, the relation between the two needs to be sorted out and designs that are irrelevant to the content must be avoided. To convey ideas, both shape and spirit must be presented, which means that stage design should meet the uniqueness and needs of stage scenery, and match the plots and action of the play. The ＂likeness in shape and in spirit＂ in the visual elements of the stage design is different from that in painting or environment design. Stage design functions to provide space for the actors, and to balance the various inter-related factors in the dramatic production. This idea of stage design is used to suit the visual images to the intrinsic logic and principles of acting, but not to flaunt their innovations with luxurious multi-media and pastiche techniques, by means of taking the ＂likeness in spirit＂ as an excuse. The changes in the functions of drama have challenged stage designers with various aesthetic trends and complicated philosophical ideas, so designers must be able to think critically.

关 键 词：视觉元素 形似神似 形神兼备 戏剧空间 价值考量 

分 类 号：J80[艺术—戏剧戏曲]