一次視覺和聽覺的專業學習機會

精彩人生·需要寬度

....

每當劇場的音樂震撼到你的內心

你是否想過這段音樂是如何誕生？

每當被舞台上的引人入勝的情節吸引時

你知道劇中的服裝、聲音設計的工作是什麼嗎？

下面讓我們來一同揭曉答案

服裝設計

服裝設計師（Costume Designer）直接設計的是外在穿著，間接設計的是人品和社會；它是解決人們穿著生活體系中諸問題的富有創造性的計劃及創作行為。作為一門涉及領域極廣的邊緣學科，服裝設計和文學、藝術、歷史、哲學、宗教、美學、心理學、生理學以及人體工學等社會科學和自然科學密切相關；既具有一般實用藝術的共性，在內容與形式以及表達手段上又具有自身的特性。

服裝設計在戲劇中的體現

Dontrell Who Kissed the Sea (2016), Director: Tyrone Phillips, Costume Designer: Paul Kim, Photographer: Eddie Scott

The Grapes of Wrath (2016), Director: Bill Brown, Costume Designer: Paul Kim, Photographer: Darrell Hoemann

Contemporary Dance Oklahoma (2013) "Working Flesh", Choreographer: Austin Hartel, Costume Designer: Paul Kim, Photographer: Mandy Richards

聲音設計

聲音設計（Sound Design），是指在戲劇或影視節目製作中對整個節目或片子的音響部分（包括語言音響、音樂音響和效果音響）作總體設計，以便使音響和其他藝術手段一起共同完成藝術形象塑造的工作。聲音設計人員根據節目或片子的總體藝術構想，策劃、設計節目或片子的音響構成和錄製方式，並組織實施、錄製、合成節目。

聲音設計在戲劇中的體現

下面我們來欣賞其中一個例子

（戴上耳機效果更佳）

教師簡介

YU-YUN HSIEH

來自台灣，聲音設計師。在美國伊利諾伊大學 (University of Illinois at Urbana-Champaign) 研究20世紀後半葉現場表演的創作中，劇場聲音創建和聽覺感受之間的互作與交節點。他合作的導演包括：SITI Company創始人、哥倫比亞大學導演系主任Anne Bogart, 美國亞裔劇場重要推動者Ping Chong等。他參與設計的作品包括1984，Lady Macbeth,The Skin of Our Teeth等數十部戲劇和舞蹈作品。

PAUL KIM

來自美國，劇場／電影服裝設計師。伊利諾伊大學 (University of Illinois at Urbana-Champaign) 戲劇學院服裝設計MFA畢業，奧克拉荷馬大學Helmerich戲劇學院本科畢業。他參與設計的作品包括：1984，TheGrapes of Wrath(《憤怒的葡萄》)，TheCherry Orchard(《櫻桃園》)，Avenue Q(《Q大道》)，Into the Woods(《魔法黑森林/拜訪森林》)。 他獲得的獎項包括：Weitzenhoffer Design/Technical Award (2014), Best in Show for Technical/Design Excellence (2014), Focal Press Rafael Jaen Showcase Award (2013), Helen F. Lauterer Costume Design Award (2013).

（以上作品均由本期課程的兩位老師創作）

課程簡介

服裝設計和人物分析工作坊

講師：Paul Kim

Costume Design and Character Delineation Workshop

Devised by Paul Kim

Workshop Description 工作坊描述:

This workshop will involve activities to brainstorm and to conduct in depth research alongside group discussions and team editing that will lead to finalized costume designs for specific characters within the play, The Good Person of Schezuan by Bertolt Brecht.

工作坊中將涉及到頭腦風暴，以及激烈的研究和討論，來進行特定角色服裝設計。會用到的劇目為布萊希特的《四川好人》.

Workshop Objective工作坊目標:

The primary objective of this workshop is to understand a costume designer』s process of analyzing characters within a play, understanding the world the characters take part in, and developing the costume design ideas and concepts for further conversation and exploration with a production team especially with the director. In addition, defending those design ideas and concepts with clear communication will be encouraged for the point that collaboration is key.

這個工作坊的目標是了解一個服裝設計師在戲劇中分析角色的過程，了解角色所在的戲劇世界，並與製作團隊特別是導演一起發展服裝設計想法和理念以進行進一步的對話和探索。這裡，在了解合作是前提的基礎下，工作坊參與者也都會被鼓勵去堅持自己的設計想法和理念。

Note: Before the beginning of the workshop, all participants must have read The Good Person of Schezuan and also have a small notebook to keep as a journal for our designing journey.

在工作坊開始前，需閱讀《四川好人》;準備一個筆記本。

Note: This is a workshop dealing with exercising ideas and exploring concepts with the support of whole group. There is much encouragement to present and assignments printed out rather than through digital sources so that the group can effectively participate discussing and helping out with editing.

一般來說對於作業盡量避免數字呈現。這個工作坊主要涉及想法上的訓練和概念上的探索 。我們鼓勵學生列印出大部分材料，以便課堂分享和編輯。

Schedule:

· Introductions介紹

· Discussion: What is designing? What is coordinating? Why do we design?

討論：設計與合作

· Discussion of The Good Person of Schezuan: Which characters do you favorite? What do you believe is Brecht』s intention with this play? What do you believe is Brecht』s intention with each character? 討論《四川好人》

· Project Introduction: Costume design 6 characters within the play with a specified time period, culture and/or genre outside of China. 1 character will have two looks.)

項目設計課堂作業：初步設計6-8個角色，非中國相關的特定時期／文化／類型。一個角色兩種樣子。

· Lecture and discussion: Researching methods and inspirational journeys.

授課與討論：研究方法和靈感獲得。

· Assignment to be completed for next day: Bring in artwork (can be created by the student), pictures, family photos, news articles, inspirational sketches and any other materials that reflect the student』s perception of each character in the play.

作業：

將藝術作品（可為學生原創），圖片，家庭相片，新聞文章，激發靈感的草圖和其他能夠反映對每個角色理解的材料 。

· Presentations and discussions PART 1: Everyone will present their materials and findings. Everyone will then participate in the conversation with questions and opinions about each person』s unique approach. This is also a great opportunity to pass on ideas to each other and help each other in exploring each other』s worlds.

展示與討論自己的設計思考與發現，以及個人方法分享

· Lecture and discussion: How to appropriately share your opinion. How to spark an idea and not give the idea. How to critique like a rival. How to critique like an enemy.

授課與討論：如何分享自己的想法，以及評價他人想法。

· Reconfigure session (at least 1.5 hours): Everyone will take the time with their laptops, ipads, etc to edit their ideas or go into further exploring from the feedback they have received.

重考量與修改自己的原初設計

· Presentation and discussions PART 2: Everyone will share their new results and also explain why they feel so strongly about certain ideas or choices they have made for PART 1.

第二輪展示與討論

· Assignment to be completed for next day: Write out a character description for each character. Write a character analysis (history, personal desires, short dialogue or monologue, etc). Bring in art supplies: Anything.

作業：為每位角色寫角色分析

· Acting and discovery: We designers must live with these characters. They must fill spaces in our head so that we take their steps in the story. The participants will share what they have written. Monologues and short dialogues will be acted out by the designer and/or others in the room. We may do the same with actual lines from the play for comparison purpose.

表演與新發現

· Opinions and discussions: Listening to lines from a play is very different from reading the lines in a play. We will discuss what thoughts may have changed from seeing actual people perform and act out everyone』s writings and descriptions as well as what is supplied from the script.

觀點與討論：設計觀點受演員表演的啟發。

· A Colorful Session: We will take all the notes from the earlier sessions, research, and inspirational works and give light to our personalized characters. We will sketch bodies, create patterns, draw abstract lines and shapes, make gesture drawings and decide colors for characterization. This will be a very meditative session.

由想法靈感到草圖繪製。

· Assignment to be completed for next day: Cast your characters with any actors of the world. For this assignment, Chinese actors can be used if desired. (We need more Asian actors to be highlighted anyway!) Have headshots or the similar printed out so that we can see the cast as a whole.

作業：演員選擇

· Presentation and discussion: We will be playing 「Keep Your Casting Director Hat」. Everyone will share why they chose their specific actors. Everyone must persuade the director or the producer who we will assign. Everyone will share the actors』 skills and past work but mainly apply them to their concepts and ideas that is in the works. Please note that this is supposed to be a fun session so there will not be any discrediting of the actors nor the designers for choosing their actors. Questioning those choices are encouraged but only in the aspect of the student』s design.

演員面試：從設計師的角度說服導演，為什麼你覺得這個演員合適。

· Costume is Clothing After All: We will be at the point of having the inspiration, concepts, personalities and bodies. We will, in class, research the specifics of our chosen or given genres: culture, time period, region, etc. Silhouettes are very important for accuracy unless it is an unconventional concept (ex. Turn of the century vs Planet Saturn year 4000)

背景調研

· Assignment to be completed for next day: Make collages. Everyone will take everything that they have researched and want to apply for each character and make a collage for each character. Minimize the amount of images for each character and choose only the ones that are the strongest or most meaningful. (Ex. 1 inspiration, 1 historical/cultural, 1 actor, 2 color/art, and 3 clothing specifics/ideas.) However, please bring all the images the next day for discussion and possible swapping images. Bring art and craft supplies like scissors and glue sticks for in class work.

作業：角色服裝板。根據對於角色的理解與調研，為每位角色繪製幾幅設計圖

· Presentation, discussion, and reconfigure session: We will discuss everyone』s collages. Be prepared for changes! Others might have loved a certain image that you decided was no longer relevant to your character and design. However, a designer must remember not to alienate his or her audience!

展示，討論，修改設計：角色服裝板。

· Lecture and discussion: How to make your final character look boards for final presentations. The art of not making art. Keep the decorations for parties. Highlight your design not your art skills. How to share your work process onto boards and maintain its visual travel.

授課與討論：如何確定最終設計與如何展示。

· Assignment to be completed for the next day: Work on costume renderings (any media of art). Work on final presentation boards for the 23rd.

作業：最終確定自己的設計。

· Lab day: Everyone can bring all the things they are working on if they have questions or need guidance such as board image placement and sizing. However, everyone should bring what they currently have of their costume renderings so we can see everyone』s progress.

自行學習準備日

· Assignment to be completed for the next day: Continue work on renderings and boards. Prepare for final presentation on the next day.

· Design Gala: This is a time to celebrate everyone』s hard work but mostly see the beauty of differences in imaginations. Everyone will introduce themselves and then follow with their presentations of their entire process. 終期成果展示日：邀請嘉賓，免費對公眾開放。

（一封來自服裝設計老師的信）

劇場聲音工作坊

講師：Yu-Yun Hsien

Theatre Sound Design Workshop

devised by yuyunhsieh

Workshop Description:

Using Bertolt Brecht』s The Good Person of Szechwan, this workshop aims to explore the process of sound design for theatre productions including script analysis, conceptual approaches to sound, sound plots, music underscoring, atmospheric sound, spot effects.

以布萊希特的四川好女人為例，這個工作坊探討劇場聲音設計的過程以及內容。

Workshop Objectives:

· To develop an understanding and appreciation of sound design as both an artistic and technical process. (了解劇場聲音設計在美學上及技術上所扮演的角色)

· Exploration the tools and resources used to create sound. (探討設計聲音所需要的工具及資源)

· Introduction of software and SFX that apply to theatre sound design. (介紹聲音設計軟體及效果)

· Create a basic foundation for understanding audio editing, recording, programming cues and playback. (了解聲音剪輯，錄音，編輯cue點和回放)

Required Script:

Bertolt Brecht, The Good Person of Szechwan

(Chinese Translation: https://www.douban.com/group/topic/5211439/)

Reference Texts:

· Deena Kaye and James LeBrecht, Sound and Music for the Theatre (1999)

· David Collison, The Sound of Theatre (2008)

· Ira White, Audio Made Easy (2007)

Schedule:

The Foundation of Theatre Sound Design 劇場聲音設計基礎

· The Dramaturgical Functions of Sound

· Sound Design and Onstage Action

· Emotion and Contrast

· Theatrical Forms/Styles of Sound Design

· Conventions of Theatrical Sound Effects

· Sound Affectivities

Project 1: Listen and Interpretation

· Listen: This project is designed to push you to listen and distinguish the variety of sounds that inform your surroundings. As a sound designer you must understand the environment you are trying to recreate. For this project you must choose a location where you can sit for a period of time. Write down each environmental sound that you hear for half an hour with the following detail:

Sound: (Description)

Source: (Description)

Direction: (Using clock designations)

Meaning: (What does the sound tell you about the environment)

· Interpretation: How we interpret the environment we are in is based in part on the sounds around us but also in part by our other senses. How do we understand sound out of this context? Based on a sound clip, you will need to identify all of the sounds and then make up a story that supports the sounds that you hear. This story must incorporate all of the sounds. The story must be able to be performed on stage.

Developing the Concept and Design I 設計觀念發展 I

· Working with the Script

· Considering Other Design Elements

· Meeting with The Director

· Budgetary Realities

· Building Sound Plot

Project 2: Building your first Sound Plot with Primary Cues.

· After a reading of Brecht』s The Good Person of Szechwan, make a list of all the sound cues written in the stage directions or indicated in the dialogue. By the end of the session, participants will present their primary sound cue sheet to the workshop.

Developing the Concept and Design II 設計觀念發展 II

· Discussion

· What are the successful interactions between the director and designers?

· What is the role of the sound designer?

· What is the role of sound board operator?

· Beyond Sound Effects

· Sound and Space

· Sound and Time

Project 3 Create the sound design concept for The Good Person of Szechwan

As a sound designer you are often required to discuss your design as a concept rather then as a completed production. This ability allows you to communicate with other designers, the actors and the director.

Based on the primary sound cue sheet, you will function as your own director. You can set the production in any time or location that you believe is appropriate. Develop your sound plot by adding more sound cues that fit your concept.

This project will culminate in a design presentation to the entire workshop on July 23.

Building the Sound Cues I 聲音合成與製作 I

· Prerecorded Cues

· Recording

· Editing

· Refining Cues

· Intro to DAW I

Building the Sound Cues II 聲音合成與製作 II

· Intro to DAW II

· Recording Audio and Effects

· Recording MIDI and Effects

· Sound Synthesis

· Sampling

Running the Show 演出聲音回放及音響工程

· The Loudspeaker Plot/Signal Flow

· Playback

· Mixing Systems (Consoles, Desks, Control Surface)

· Microphones

· Programming Cues in Qlab

Final Presentation/Discussion/Critic/Q&A 作品呈現與討論

（一封來自聲音設計老師的信）

課程及時間

7月15日前購買課程

可享受寬度網專屬優惠

僅需2300元

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