表演藝術海報的視覺張力表現

Abstract

現代藝術不管在美學或是表達形式上，似乎都有追求視覺張力表現的趨勢。一幅好的表演藝術海報設計必須同時具有傳達功能與審美價值，在視覺上也同時具有一種張力及運動感。簡單地說，那是畫面構圖中，各個文字、影像元素互相對比、衝突、平衡、融合、分裂的種種交互反應。觀者能從靜態的畫面中得到動態的視覺效果，除了運動中的瞬間定格畫面以外，平衡與對比也是造成動感的原因，依照完形心理學的理論，張力及運動感的原則，在於破壞人類的視覺平衡，使人有想辦法回覆平衡的傾向。本研究透過張力的觀念應用於海報設計上，藉以強化作品的傳達性與美感。最後本研究共歸納出以下三項結論： （一）藉由文獻探討，具體歸納視覺張力的產生取決於位置、色彩、形狀、運動等等引起，而產生各種張力的根源則在於知覺的作用。要讓一個版面產生視覺張力，可以透過適當的安排產生符合靜態張力之平衡性、動態張力之動態感、情感張力之對比性與色彩性來達到。其中最有效的就是要有張力的構圖，即使是不具動感的照片經過適當的裁切、擺在對的位置也能達到視覺張力的效果。 （二）經過蒐集與分析台灣表演藝術海報，得知造成一張海報具有視覺張力感的原因與特徵通常不只一項，它常同時具有動態與平衡的屬性，或同時具備三種屬性，而表現形式也同時呈現不同的特徵。這些特徵要能夠呈現真正的視覺張力，必須能夠達到統一性才行，統一性原則的目的使版面成為一個具有統一性的主體表現和層次感的設計，以連貫整體的視覺表現，進而使訊息的傳達效率更高。 （三）透過海報創作，發現具張力性的構圖在“平衡”上的要求超乎預期的重要，一張海報的構圖若失去了平衡感，或許得到一時的動態感與注目效果，但是這個注目性並不會是美的感受，它亦無法讓人耐看。但平衡之中沒有動態卻一片死寂。因此動態感與視覺平衡兩者間是呈現共生的依存關係，就像許多人常說的“恐怖平衡”，必須拿捏的恰到好處。Whether it is in the expression format or from aesthetical concern, modern arts seems to be in the trend of pursuing visual tension. A good design for performing arts poster must possess both transmitting function and aesthetical values simultaneously, especially with a kind of mixing in tension and athletic feeling for visual expression effect. Simply put, these are relative contrasts for each word and image element within the composition of picture, in addition to various interactions interplayed from standpoints of conflict, balance, fusion and disintegration. People can acquire the dynamic visual effect from still and static state of the picture itself. Therefore besides instantaneously still frames during athletic events, the balance and contrast are also the causes for creation of dynamic feelings. If following interpretations and theories from Gestalt psychology in principles for tension and movement, the whole idea was anchored on the assumption to destroy the visual balance of humans so as to trigger instinctively balancing tendency from human as result. This research therefore intends to apply these tension concepts unto the playbill design to enhance the transmission aspect of it, and the aestheticism. Lastly this research summarized into the following three categories for conclusion:

(1) Through documentation exploration, this research summarized in concrete fashion regarding the occurrences for visual tension. This is determined and triggered by positioning, coloring, outer shape and movements, etc. Nevertheless those are responsible of generating the sources for each and every tension residing at consciousness level. Thus, the inducement of visual tension for any layout can be properly arranged to produce guidelines for contrast and coloring demands through the balancing quality for static display, and dynamic feeling for dynamic tension and the emotional tension. Amid all of these, the most effective one resides at the tension for picture composition. Even for those pictures lacking dynamics can be rectified through proper cutting and placed at the right location to achieve the effect for visual tension.

(2) Through collecting and analyzing Taiwan’s performing arts posters, it came to our attention that there were more than one single cause and characteristic accounting for any posters to possess visual tension. It normally possesses the dynamic and balancing attributes or all three of them. And the expression also exhibits different characteristics as well. For these characteristics to be able to really generate the desired visual tension, it must achieve the unity effect first. And the purpose of this guiding principle for achieving unity resides at having the layout possessing a kind of design through expression of main body with sense of unity in addition to the layering expression of the layout. Therefore this can integrate the overall visual expressions so as to enhance the transmission efficiency for imbedded messages.

(3) Through posters creation, it discovers the demands for “balancing” on the picture composition with tension are so vital, even exceeding the anticipation as result. If the playbill’s composition loses the balancing feeling or may even acquires an Instantaneous effect of dynamic and attention grabbing, nonetheless, this attention would not even come close to the esthetics feeling, but also lacks the capability of maintaining people’s attention span. Nevertheless, balancing lacking dynamic feeling would fall flat on It face. Thus, both the dynamic feeling and visual balance exhibit some kind of coexistence relationship in the end, just like the commonly known “balance of terror”. Consequently, this must be handled with utmost delicateness.