書籍介紹
本書企圖建立一個系統性考核劇場圖像作為史料的方法，並進一步突破劇場圖像的研究限制，視劇場圖像為多重文化力量角力下的社會文本。其中，隨著媒介性質與功用的演變，圖像的表演性被凸顯，尤其是可大量流通、以演員為主的圖像更成為有意識的文化展演。本書先提出一個跨領域的劇場圖像分析架構，再佐以五個涵蓋古今中西劇場的圖像案例，剖析它們如何作為史料證據、社會文本或文化展演文本。
目次
第一章 導論······························································································································1
第二章 西方劇場圖像學的理論發展與測繪分析架構··········································25
第三章 基礎考核：突破劇場圖像作為史料的詮釋陷阱·································43
第四章 自然演技：威廉．霍加斯的《賈里克扮演理查三世》作為劇場文件···························77
第五章 形構英國性：閱讀《賈里克扮演理查三世》圖像作為社會文本···································115
第六章 從舞台到名片式照片圖像：十九世紀中葉美國女演員雅妲．愛賽克．曼肯的身體與性別展演······························143
第七章 從娜拉到毛夫人：攝影圖像、生活扮演和性別論述··············181
第八章 構成主義作品的烏托邦想望：梅耶荷德執導的《綠帽王》攝影圖像作為劇場史料與社會文本···························227
第九章 西方劇場圖像學的跨文化實踐─以明應王殿忠都秀壁畫為例·················································269
第十章 結論·················································································································································291
徵引書目························································································································································297
索引······························································································································································319
編／著／譯者簡介
著者簡介
林雯玲
美國塔夫茨大學戲劇研究所博士，國立臺灣大學戲劇學系教授。曾任國立臺南大學戲劇創作與應用學系教授兼系主任。專長和研究興趣涵蓋西方現代戲劇、台灣當代劇場、劇場史學研究、戲劇理論、文化與國族主義；目前研究聚焦台灣移民工劇場相關議題。於國內外重要期刊發表論文二十多篇，譯有《 新譯《玩偶之家》（易卜生著）。
分類
其他詳細資訊
- 英文題名：The Seduction of Pictorial Images: Historical Evidence, Social Text and Cultural Performance
- 適用對象：成人(學術性)
- 關鍵詞：劇場藝術，戲劇
- 附件：無附件
- 頁/張/片數：334
授權資訊
- 著作財產權管理機關或擁有者：國立臺灣大學出版中心
- 取得授權資訊：聯絡處室：國立臺灣大學出版中心
姓名：游紫玲
電話：02-33669984
地址：台北市羅斯福路四段1號