詩的動畫—以「詩想」過程導入手繪實驗動畫創作與探討

Abstract

本研究是將「詩想」過程應用於實驗動畫劇本創作與畫面的視覺表現。本研究中發現，詩與影像的文本之間常發生跨媒體互文的現象。動畫於本質上非常貼近詩，例如詩意的動畫有著：強烈主觀的作者風格、影像本身具有之意象、形象符號的象徵手法和超現實手法，這皆與詩的特質無異。詩、詩意與動畫之間的關係則為：「詩」是動畫創作者的主觀思維，為劇本的主宰；「畫面（影格內容）」是動畫創作者的作品；「詩意」是觀眾的視覺感和審美心理。動畫既然為一個跨藝術領域的大結合體，技術和媒材表現有著高度自由性，任何想法皆可付諸實行。為此，應該更重視動畫內容本身的想法所蘊含的創意與審美價值，而詩本質上屬於思想之物，是創作者發言創作的動力來源。若談及動畫與詩的互文結合，則應由詩語言的本質紮根。故本研究在創作表現上，運用詩人白靈提出的「聯想的大樹」作為「詩想」方法，在劇本創作之時，實際操作「詩想」過程，運用詩語言的特質，將創作理念中欲描繪的抽象人類心境，轉化成具體意象的詩的劇本，再利用動畫特質中超現實與抽象兼具的視覺元素，結合手繪動畫的高度繪畫性和作者風格的感性將詩劇本視覺化，力求展現出實驗動畫藝術性的一面。This research applies the “poetic thought” process to the play writing and the visual expressions in experimental animation. Intermedia intertextuality was often seen between the text of poetry and the text of images. The nature of animation is closely related to poetry. For example, the poetic animation has—strong subjectivity from the author’s personal style, image which has its unique imagery, image symbols in Symbolism, and the surrealistic techniques. All of these are the same with the characteristic of poetry. The relationships among poetry, the poetic sentiment, and the animation are as follow: "Poetry," the dominant component of the script, expresses the subjective thinking of the animation creator; "the image (frame content)" is the work of the animation creator; "the poetic sentiment" is the visual feeling and the aesthetic psychology of the audience.Since animation is a big combination of different artistic domains, and there is high degree of freedom in how to apply techniques and materials, any idea could be put into practice.

Therefore, we should emphasize the creativity and the aesthetic value in the content of animation. Poetry is related to thinking in nature, and is the power source for creators to express their thoughts and to create. While referring to the intertextuality phenomenon between animation and poetry, we should ground in the essence of poetic language. Therefore, the author applied "the Associative Tree", which was proposed by the poet Bai-Ling, as the "poetic thinking" method during the process of play writing and creative performance. Through the special characteristics of the poetic language, the author transformed the abstract human mood into concrete image and then the script of the poem. Moreover, the author used both realistic and abstract visual element in the animation, and united the highly painterly hand-drawn animation with personal sensitive style to visualize the poetic script, making every effort to unfold experimental animation in the artistic way.