本文選題：劇場性　切入點：劉小東作品　出處：《西南大學(xué)》2017年碩士論文

【摘要】：“劇場性”是現(xiàn)代主義藝術(shù)批評體系中的一個重要組成部分,藝術(shù)作品是否具有“劇場性”主要體現(xiàn)在藝術(shù)家在創(chuàng)作中是否滿足觀眾的觀看需求。本文以劉小東作為個案研究對象,試著分析劉小東多種媒介作品的“劇場性”。文章主要分為三個部分進行闡述:第一部分從劉小東的“現(xiàn)場主義”藝術(shù)觀的角度出發(fā),分析劉小東繪畫方式的轉(zhuǎn)變,即從畫照片到現(xiàn)場繪畫這一變化的時間、原因、作品面貌等進行梳理,著重分析轉(zhuǎn)變前后劉小東作品面貌上的變化;劉小東現(xiàn)場繪畫的行為藝術(shù)化使得劉小東作品呈現(xiàn)多樣性的面貌,即文字作品、攝影作品、影像作品、繪畫作品等多種媒介作品;多樣性的作品內(nèi)容和形式豐富了觀眾的觀看體驗,同時劉小東對觀眾觀看的考量使得其作品“劇場性”體驗的產(chǎn)生具備了必然性。第二部分作為本文的重要章節(jié),分兩個層次先后詳細探討了劉小東作品內(nèi)容和作品展示的“劇場性”,作品內(nèi)容的“劇場性”從題材選取的話題性、作品中的人物眼神和姿態(tài)的刻意性等入手討論作品內(nèi)容體現(xiàn)出的劇場性;作品展示的“劇場性”則是從劉小東多媒介作品自身的“場”效應(yīng)、展覽空間營造的“劇場性”以及在展覽空間中作品與觀眾的互動關(guān)系等三個方面進行討論。第三部分通過對劉小東作品的“劇場性”思考,試著透過“劇場性”考量“藝術(shù)家—作品—觀眾”三者間的關(guān)系,試分析“劇場性”在創(chuàng)作實踐中的現(xiàn)實意義。本文從“劇場性”理論角度對劉小東的多媒介作品、創(chuàng)作方式、展示方式等與觀眾的關(guān)系進行了深入探討�！皠鲂浴敝饕w現(xiàn)在藝術(shù)家通過作品與觀眾產(chǎn)生何種關(guān)系,如果藝術(shù)家在創(chuàng)作過程中考慮到觀眾需求,通過作品內(nèi)外的因素迎合或討好觀眾,那么我們可以說作品是具有“劇場性”的,反之,如果藝術(shù)家僅僅專注于藝術(shù)品本身則不具有�！皠鲂浴蓖谒囆g(shù)家的創(chuàng)作與觀眾的需求之間動態(tài)游走,隨著時代的變化,“劇場性”的判斷標準也會隨著藝術(shù)家和觀眾審美的變化而變化,“劇場性”的意義也就在于藝術(shù)家如何在創(chuàng)作的自主性和觀眾的需求之間保持平衡。劉小東作品“劇場性”產(chǎn)生的原因在于藝術(shù)家意識到了繪畫的局限以及繪畫對觀眾吸引力的減弱,所以將更多的媒介加入到原本的繪畫創(chuàng)作中,以便吸引更多觀眾。劉小東作品的“劇場性”主要體現(xiàn)在兩個方面,一是其作品內(nèi)容包括題材選擇、人物姿態(tài)等方面對觀眾的吸引;二是在作品展示中利用多種媒介本身的優(yōu)點營造出“劇場”空間,并通過增加作品信息量、設(shè)置觀看障礙、干預(yù)觀眾觀看方式等手段與觀眾互動。
[Abstract]:"Theater" is an important part of modernist art criticism system. Whether the art works are "theatrical" is mainly reflected in whether the artist satisfies the audience's viewing needs in the creation. This paper takes Liu Xiaodong as the case study object. Try to analyze the "theatricality" of Liu Xiaodong's various media works. The article is mainly divided into three parts: the first part analyzes the transformation of Liu Xiaodong's painting style from the point of view of Liu Xiaodong's "live doctrine" art view. Namely from the picture to the scene painting this one change time, the reason, the work appearance and so on carries on the combing, emphatically analyzes before and after the transformation Liu Xiaodong's work appearance change; The artistry of Liu Xiaodong's live painting makes Liu Xiaodong's works take on a variety of features, such as text works, photography works, image works, painting works and other media works. The diverse content and form of the works enrich the viewing experience of the audience. Meanwhile, Liu Xiaodong's consideration of audience viewing makes the production of "theatrical" experience of his works inevitable. The second part is an important chapter of this paper. In two levels, the author discusses in detail the content of Liu Xiaodong's works and the "theatricality" of his works. The characters' eyes and gestures in the works are deliberately discussed, while the "theatricality" displayed in the works is based on the "field" effect of Liu Xiaodong's multi-media works. The third part discusses the "theatricality" of Liu Xiaodong's works and the interaction between the works and the audience in the exhibition space. This paper tries to analyze the practical significance of "theater" in creative practice by considering the relationship between "artist, work and audience" through "theater". This paper analyzes Liu Xiaodong's multi-media works and ways of creation from the perspective of "theater". "Theater" is mainly reflected in the relationship between the artist and the audience through the work, if the artist takes into account the needs of the audience in the process of creation, By pandering to or courting the audience through the factors inside and outside the work, we can say that the work is "theatrical," whereas, "Theater" often moves between the artist's creation and the audience's needs. With the change of times, the judgment standard of "theatricality" will also change with the change of artist and audience's aesthetics. The meaning of "theatrical" lies in how the artist keeps level between the autonomy of creation and the needs of the audience. The reason for Liu Xiaodong's work "Theater" lies in the artist's awareness of the limitations of painting and the weakening of its attractiveness to the audience. Therefore, more media will be added to the original painting in order to attract more audience. The "theater" of Liu Xiaodong's works is mainly reflected in two aspects, one is that the content of his works includes the choice of themes. The attraction of characters to the audience; second, the use of the advantages of a variety of media to create a "theater" space in the exhibition of works, and by increasing the amount of information in the work, setting up a viewing barrier. Interacts with the audience by intervening in the way they watch.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205

【參考文獻】

相關(guān)期刊論文 前10條

1 張曉劍;;現(xiàn)代主義起源新解 論弗雷德的馬奈研究[J];新美術(shù);2016年02期

2 高嶺;;重新認識行為藝術(shù)[J];美術(shù)研究;2015年01期

3 顧丞峰;;日常行為、藝術(shù)行為與行為藝術(shù)[J];南京藝術(shù)學(xué)院學(xué)報(美術(shù)與設(shè)計);2015年01期

4 Anne-Britt Gran;章恬;何輝斌;;“現(xiàn)代性”時代下的劇場性衰落[J];文化藝術(shù)研究;2014年01期

5 王曦;;“是其所是”的物質(zhì)世界與不安的觀者——以《奧林匹亞》為中心淺析馬奈繪畫的現(xiàn)代性[J];名作欣賞;2013年27期

6 張曉劍;;狄德羅時代的反劇場化事業(yè) 論弗雷德的18世紀法國繪畫研究[J];新美術(shù);2013年03期

7 查常平;;中國先鋒藝術(shù)思想史——先鋒藝術(shù)的定義[J];東方藝術(shù);2013年03期

8 王玉冬;;當繪畫淪為一種矯飾的藝術(shù)——邁克爾·弗雷德的美術(shù)史與美術(shù)批評[J];中國美術(shù)館;2011年12期

9 巫鴻;劉小東;;走進現(xiàn)實——巫鴻與劉小東對話[J];榮寶齋;2010年02期

10 朱其;;行動是一種立場——油畫家劉小東先生訪談錄[J];榮寶齋;2009年01期

相關(guān)碩士學(xué)位論文 前2條

1 沈愛雯;另一種宏大敘事—劉小東作品視角的轉(zhuǎn)變[D];安徽大學(xué);2016年

2 辛云鵬;裝置藝術(shù)的劇場性研究[D];中央美術(shù)學(xué)院;2016年

，

本文編號：1670833