ON THE THEATER & PHOTOGRAPHY INTERVIEW WITH DR. JOEL ANDERSON
關於戲劇與攝影 採訪喬爾·安德森博士


ART.ZIP: What do you think of the differences or similarities be- tween theatre photography and other photography?

JA: Theatre photography is probably best understood as a minor, marginal form of photography. There are very few professional theatre photographers, and there are relatively few outlets for theatre photo- graphs to be disseminated. I change perspectives a lot as to whether theatre photography is actually all that different from other forms of photography. Certainly, there are specific questions, risks, and rewards, but I currently don’t make a clear distinction. The difference is on the viewer side – how a photograph is viewed shapes what it means.

I do think theatre photography remains interesting, however. And it has a bearing on wider questions about photography, and indeed be- yond. For example, theatre photography is relevant in examining a phenomenon like the photographs documenting torture and abuse at Abu Ghraib by US military police. As Victor Burgin has pointed out, these images made a mockery of the postmodernist resistance to ide- as of photographic truth. But these snapshots were also highly theatrical – tableaux vivant, staged for the camera.

ART.ZIP:你認為戲劇攝影和其他攝影有什麼異同?

JA:主流觀點可能認為戲劇攝影是一種相對小眾的,次要的攝 影形式。而專業戲劇攝影師的人數非常少,供戲劇攝影作品傳播 的渠道也不多。至於戲劇攝影是否真的與其他攝影完全不同,我 也經常改變看法。這行業的確存在一些疑問、風險和回報,但目 前,我認為它與其它攝影沒什麼明顯區別。區別在於觀眾怎麼去 看。一張照片的意義取決於觀眾怎麼去看。

但我認為戲劇攝影還是相當有趣的。它不僅與圍繞攝影更廣泛的 討論息息相關,甚至超越這個範疇。比如,戲劇攝影在審視照片記 錄“美軍虐囚”這一現象發揮著一定作用。正如維克多·博格恩(Vic- tor Burgin)指出那樣,這些照片嘲笑了後現代主義者對照片真相 的抵觸。但這些快照也非常具有舞台效果:十分逼真和入鏡。

ART.ZIP: What books would you recommend if we want to know more about theatre photography?

JA: There are very few books about theatre photography. Books on theatre, although they draw on theatre photographs (although, at least in Britain, they do this quite minimally – the CNRS ─ Centre national de la recherché scientifique in France does a more sustained promotion of theatre photography), rarely engage with the subject, and there is little or no mention of theatre photography in most works on photography. Again, theatre photography is quite a minority and marginal affair.

Chantal Meyer-Plantureux’s 1992 book La Photographie de Théâtre ou la memoire de l’ephemere (in French) remains the most substantial. There are a number of articles on everything from the actor portrait to performance documentation. Rebecca Schneider’s latest book contains a section on the relationship be- tween theatre and photography. There are some good books of theatre photographs: I would recommend works by Martine Franck, Nicolas Treatt. Some works have considered the theatricality of photography, for example Max Kozloff’s The Theatre of the Face. I would also (with some reservations!) recommend my own book, Theatre & Photography, which will be published next year.

ART.ZIP:如果我們想了解關於戲劇攝影的更多信息,你會推薦 什麼書?

JA:關於戲劇攝影的書非常少。關於舞台戲劇的書,雖然也有 提到戲劇攝影,但鮮有深入探討這個話題(至少在英國這方面 的工作非常有限,但法國的國家科學研究中心(CNRS─Centre national de la recherché scientifique)卻為推動戲劇攝影而作 出了更為持久的努力),而在大多數攝影書籍裡面,提到戲劇攝 影的也非常少,甚至沒有。所以,我說戲劇攝影是小眾的、次要的 攝影形式。

尚托·美耶·普托羅斯那部1992 年的著作《戲劇攝影與短暫 的記憶(La Photographie de Théâtre ou la memoire de l ’ e p h e m e r e ) 》( 法 語 版 本 ) 仍 是最有分量的一本書。裡面有 多篇文章詳細地闡述了戲劇攝 影,從演員特寫到演出經過。 瑞貝卡·舒內德(Rebecca Sch- neider)最新的書也有專門闡 述舞台和攝影關係的一小段篇 章。另外還有一些不錯的書籍, 我會推薦馬迪恩·法蘭克(Mar- tine Franck)和尼古拉斯·特瑞 特(Nicolas Treatt)的書。有些 書已思考過了攝影的戲劇化效 果,比如馬可西·科茲洛夫(Max K o z l o f f )的 書《 戲 劇 之 臉( T h e Theatre of the Face)》。我同時 也推薦我自己的書《舞台與攝影 (Theatre & Photography)》, 這本書將在明年出版。


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