王怡美、宋同正。〈《快雪時晴》戲曲服裝設計之符號隱喻及詮釋〉。《民俗曲藝》216 (2022.6): 89-108。
Wang Yi-meei and Sung Tung-jung. “Symbolic Metaphor and Interpretation of Costume
Design in Sunlight after Snowfall.” Journal
of Chinese Ritual, Theatre and Folklore 216 (2022.6): 89-108.
Abstract
舞臺上戲劇服裝款式和色彩細節，是視覺畫面的重要成分，更是服裝符碼化的象徵，而戲曲服裝的色彩意象則清楚揭示出角色的社會地位、戲劇功能以及角色間的縱聚合與橫組合關係。
2017年國光劇團新編京劇《快雪時晴》以王羲之的〈快雪時晴帖〉為故事的主軸與概念發想，演出形式結合京劇、NSO交響樂及歌劇等不同的表現形式外，更加入數位科技的元素，展現當代戲曲美學之創新動能。服飾是一種文化的標記，而戲曲服裝則為人物角色和故事情節提供重要的線索；本文以羅蘭•巴特之符號理論解析《快雪時晴》戲曲服裝設計之符號表現與內涵意義，梳理出數位戲曲服裝設計如何運用造型和色彩形塑角色性格、傳遞角色內在的道德以及觀念價值等第二重意義，提供一個電腦輔助戲曲服裝設計案例分析，做為理解劇場設計美學的另一扇視窗。
The costume style and
color details on the stage are important components of visual images, as well
as symbols of the codified clothing. The color image of Peking
opera costume explicitly reveals a role’s social status, theatrical effect, and
the vertical and horizontal relationship between the roles.
In 2017, GuoGuang Opera Company presented a
contemporary Peking opera Sunlight after Snowfall which
was inspired by Wang Xizhi’s calligraphy “Timely Clearing After Snowfall.” The
production combined different forms of expression, such as Peking
opera, symphony orchestra and opera. It also included elements of digital
technology to show the innovative energy of contemporary opera aesthetics.
Clothing is a symbol of culture, while costume provides important clues for
characters and storylines. Based on Roland Barthes’ semiotics theory, this
paper analyzes the symbolic performance and implicit meaning of Sunlight after Snowfall
costume design. It also illustrates how digital costume design uses styles and
colors to shape the character’s personality, conveys the role’s secondary
meanings, such as inherent morality and conceptual value, and provides a
computer-aided costume design case analysis as another perspective to
understand the aesthetics of theater design.