本影音創作以筆者父親逝世的自身經驗為發想，創作動機從解決自我內在的焦慮感出發，欲以第三人稱的影像視角陳述從喪父至今，個人主體所感知到的自我認同轉折，以及一路走來所經歷的連續性心境變化。希冀可透過此實驗性創作表達出筆者最純粹的感受，以及帶給有相似經驗的觀者一種力量。 創作作品形式以三段實驗性質影像短片呈現，由演員肢體語言表演內心心境為主，輔以意境式的大自然場景和動物鏡頭，以編導式影像的建構與重演等方式，傳達三階段式的抽象心境畫面。公開放映時，依三段實驗影片的特色與展場空間，設計出適合的錄像藝術放映模式，輔以平面式編導攝影作品和展場敘事之營造，意圖使觀者完整感受到筆者一路從情感上的「腐朽」，過渡到「混沌」的自我掙扎，最後則是生命旅程「重生」的敘事過程。 從兩次公開放映的展演成果出發，多數觀者雖可明確接收到創作主題，但仍偏好事前以文字解說情境的敘事脈絡，影像的「敘事之道」在此作品尚無法獨立存在。另，展演空間與放映模式的互動，會影響觀者對創作作品的詮釋與情緒投射，故作品在後製剪接階段，即需依據展場敘事做出適當的調整。最後根據觀者訪談與問卷調查，檢視本創作成品的放映成效與製作檢討，希冀能帶給後續創作者相關的創作建議。 / This presentation is based on the author’s own experience, trying to solve the inherent anxiety as creative motivation and image a statement from the perspective of the third person who has lost her father, expressing individual subjects of perceived self-identity transition and the continuity of mood changes experienced along the way. This presentation is created to express the purest feelings of author, and hope to bring a power to the audience who have similar experiences through seeing this presentation. This presentation is composed by three experimental films, which presented by an actor performing body language to stand for one’s inside heart with Fabricated Photography, and supplemented by nature scenes and animals’ lenses to reconstruct and convey three-stage manner formula and abstract mood scene. When it comes to public performance, this presentation is designed to use video arts mode according to the characteristics of the exhibition space and three films, combined with works of Fabricated Photography and the narrative of the exhibition, with the intention that the audience can feel the narrative way as the author, starting from the emotional “rottenness” stage to the self struggle transition “chaos”, finally coming to the process “rebirth” of life’s journey. From the results of two public performances, the majority of the audience still prefer to narrative contexts by words rather than images although they can clearly receive the creative theme from three experimental films. “Another way of telling "of images doesn’t work independently in this presentation as imagined. Also, the interaction of exhibition space and videos mode will affect the audience the interpretation and emotional projection to the films, thus the films need to make appropriate adjustments based on the exhibition narrative in post- production editing stage. Finally, according to interviews and questionnaires of the audience, it shows the effectiveness and production review of this presentation, hoping to provide relevant suggestions for subsequent creators of this similar theme.

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. The project began with the concept that inspiration of creating is similar to daydreaming as well as the journey of creating is akin to sleep-walking. Six sequences of sleepwalk-adventures that shot in the city symbolize the different phases of creating, which will be clarified in the following articles. 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 performed by five characters and me. Six characters indicate that the creator was located and inspired by different phases and facets of creating. The story begins with the protagonist couldn’t get to sleep at night, then wanders into the story line where she/he is seeking and stretching various ideas, then leaving these possibilities behind, which symbolize the first stage of creating. The plots lead us into eating section, in which foods bring both mentally and physically satisfactions to protagonist, imply the gratifications in creating. In the end, pouring the fallen leaves into the tub represents summing up and immersing. The tub is like the boat of imagination carrying fallen leaves that imply diverse stories. Once I fall into the dream land, the story goes into the circle of dreams and dreams. This is a performing and shooting that respond to me. 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. In terms of viewing angles in the dream, one can see herself/himself in the dream and even dominate the plot of it, as if she/he is playing director and actor at the same time, which is the reason that the first person and the third person narratives are both used in the depictions of this work. Keywords: Creating, Dream to Dream, Fabricated Photography, Image narrative. Sleepwalk.