薛孟琪。〈遺址時空劇場：西安、羅馬遺址再現的比較研究〉。《民俗曲藝》198 (2017.12): 165-218。
Hsueh Meng-chi. "Heritage as Spatial-Temporal Theatre:
Comparative Research on the Representation of Historic Ruins in Rome and Xi’an
Abstract
本文以實例具體分析羅馬、西安的城市遺址在空間形態上之特殊性如何影響遺址的再現，如何以虛擬科技輔助、提升遺址現場的「可參訪性」，以動人的方式增進參訪者對歷史文化的理解。迥異的遺構殘損狀態實質上促使羅馬、西安探索不同的取徑，結合虛擬與現實的再現思維、目的、方法、效果皆有所不同：羅馬藉投影破除遺跡疊壓的干擾，使其建築與城市文明得以直觀感知；西安則製造浪漫化的歷史魅影、輔以實體構築形式張揚空無的滄桑感。以「空間性」的再現設計作為閱讀分析的文本，本文比較性地探究羅馬、西安遺址再現的挑戰與突破，同時指出「空間」作為各種再現形式之整合平臺的潛力，對其他城市思考遺址活化具有實務上的借鑒意義。
除了對劇場化的遺址展演策略進行反思，本文亦探索隱身於遺址劇場幕後的文化認同與集體記憶建構如何為現世利益服務。本文以「劇場」為雙關隱喻，一則探討遺址如劇場般的展演、再現設計策略，二則以舞臺作為鏡像反思的空間，主張以何觀點定位、決定遺址的再現設計本身即是認同的展演：舞臺景框如同嵌著一面明鏡，臺前的展演與再現幕後的意圖存在交互映射、現實與擬仿的鏡像關係，有助於反思遺址劇場化（從「展示」轉向「展演」）之現象背後的現實意義。
This research delves into the representation designs of historic ruins in Rome and Xi’an Rome Rome are prone to be layered
vertically underground while heritage sites in Xi’an
It
has been widely accepted that “visitability” and visual legibility should be created
in order to convey meanings and values of heritage sites to the public. It is
especially true to those seriously ruined heritage sites which are less
perceptible and intelligible by nature. Virtual reconstruction and multimedia
projection techniques seem to be a feasible ways to enhance on-site heritage
interpretation, contribute to the sensory representation of the archeological heritage sites, and furthermore provoke
visitors’ emotion. Then, how were such techniques utilized differently due to
the uniqueness of heritage sites in Rome and Xi’an
Based on empirical studies, this article scrutinizes their differences
in mentality, motivation, and practice
of employing virtually
reconstructive projection designs. This article also points out
the ideological shift from displaying to performing cultural heritage which
represents heritage sites as
spatial-temporal theatres that narrate
stories. By projecting imagery on
the ruined environment, the Roman design team temporarily got rid of the
disturbance of the superimposed and entangled later additions to the ruins
while the Xi’an
Besides considering heritage sites as tangible storytelling theatres, this article
also borrows the mirror-like configuration of theatrical stage
metaphorically for reflexive
thinking. By looking into the backstage performance, this article analyzes how the
protagonists respectively constructed, manipulated, and used the ideology of
collective ownership and sponsorship regarding the archaeological discovery,
conservation, and representation of the heritage sites.
Also in Journal of
Chinese Ritual, Theatre and Folklore:
薛孟琪。〈失落的西安城市史：對唐大明宮（國家遺址公園）歷史想像空間構築的考察〉。《民俗曲藝》180
(2013.6): 45-81。
Hsueh
Meng-chi. "Lost Historiography of Xi’an :
Investigating the Imaginative Spatial Construction of the Historic Daming Palace
(National Heritage Park