李YAYA城市漫遊

本專題為編導式攝影製作，以夢遊為影像故事腳本，隱喻創作由發想至產出的過程。專題概念始於「創作的發想就像一場白日夢，創作的過程就像夢遊」，拍攝六段城市裡的夢遊冒險，將夢遊比喻為創作的不同階段，並在書面文字中解釋這些隱喻。

六段拍攝劇情為「失眠出門、夜遊尋找、甦醒伸展、逃離丟棄、瘋狂吞食，與沈浸熟睡」，由五位主角與我接力演出，以六人表示身處不同創作階段、激發不同面向的自己。故事由主角夜裡失眠開始，進入尋找與丟棄的主線，像是創作初期開啟不同的領域，稍做伸展停留，卻又離棄原有構想，接著進入大吃劇情，以食物帶給身心的雙重滿足，代表創作的喜悅。最後將落葉倒入浴缸中代表歸納與沈浸，浴缸如想像力的船，落葉如眾多故事的隱喻。當我墜入夢境，故事便進入夢中夢的循環。

這是一場呼應自己創作歷程的演出與拍攝，場景與道具皆有隱喻與前後牽引，具影像敘事的實驗性。考量人在夢中的視角，是能夠看見自己演出甚至指揮劇情的，同時具備導演與演員身份，故在作品說明上會使用到第一人稱與第三人稱。

This project is a production of fabricated photography, which adopts sleepwalk as the script, implying the process of fulfilling thoughts into the tangible work. This photographic work not only presents the journals of urban sleepwalks for six characters, but also explains the voyage of the author/creator with written descriptions. The plots consist of the insomniac going out, wandering and seeking, waking up and stretching, fleeing and abandoning, wildly swallowing and consuming, and settling and falling asleep, all of which are played by five characters and me in turn, thus it can either be regarded as circulating by the form of dream to dream; or six series of photos. All the sets and properties attaching to one another in the context serve as the holders of metaphors, indicating the experimental essence of image narrative.

At first chapter, the motives of shooting are questioned by observing photographer’s mind and eyes. Propelling by “the essential similarities between dreaming and creating”, the dreams, subconscious, and artistic creating are bound. Also, considering the visual reality and vivid actions, the subject of this work is chosen as “sleepwalk”.

At second chapter, the contemplations of documents contain two parts, dreams and image narrative. From the perspectives of psychology, science, and artistic creating, how dreams influence the journal of creating are discussed. Further, the theories of seeing and the methods of fabricated photography adopted by this project are introduced. The similarities and dissimilarities of photography and cinema are also reviewed in the last section of this chapter.

        專題概念由「創作的發想即是一場白日夢，創作的過程就像夢遊」的關連出發，從夢的全視角度搬演自己與他人的生活。編導式攝影者的鏡頭就像作夢者的視角般，有時置身其中，有時統馭劇情，身份是演員也是導演，既陷溺又疏離。作品內容藉由與我相關的六位人物，從黑夜至白天接力登場，他們各有其獨立的故事情節，也可與對方的情境相連，成為一套完整的敘事結構。因此可視為六段散落的情節，或以「夢中夢」的關係串連，無論是整體分散為片段，或片段拼湊出整體，都是以不同面孔詮釋創作中遭遇的情緒過程。

我以編導式攝影為依歸，裝置場景與指導被攝者演出，被攝主角將朝兩方向表現：表現自己原本的樣子，或揭露出掩蓋的一面。以下針對「夢遊」這個大題，分點敘說我的想法，作為本專題對夢遊的詮釋定義，與劇情編導的指南。
 

 一、夢遊是相對於現實，讓主角進入相反角色