「看不见的线」毕业生专访｜Christina：让情绪在舞台上慢慢显现
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在本次毕业展中，Christina带来了两组舞台设计作品和一个视觉艺术实验作品
它们分别从社会议题，环境叙事与情绪感知出发，呈现她对于"舞台如何承载情绪与表达"的不同探索。
在这个项目中，我受到音乐《Cornfield Chase》的启发，尝试运用舞台灯光与可动装置，将抽象的情绪与感受转化为具象化的实验性音乐会的舞台设计。
为了将日常生活中观察到的混乱 用另一种方式尝试表达出来，我选择以动态影像作为媒介，以梦境作为表达载体，用抽象的元素替代呈现了部分越界行为所引发的混乱。
这个项目是以短片展览的形式呈现的，我希望这部影片能够引发观众对一些社会性问题的深入思考。
这是一个基于原创故事展开的舞台设计项目，其灵感来源于当今社会备受争议的环境污染问题。
故事讲述了一位核电厂老板为了牟取利益，伪造数据，将放射性废水排入海洋。出乎意料的是，他与一条鲨鱼交换了灵魂，从而亲身感受到污染与变异带来的痛苦。他试图阻止这一破坏行为，却遭到反对，最终引发海洋生物的反击。在灵魂回归的前夕，他毁灭了自己的身体，而他的精神也随之消散于虚无之中。
通过这一寓言式作品，我旨在尝试运用舞台灯光表达人物情绪，并从故事中批判人类为了利益与权力对自然的剥削，揭示人类对生态环境的破坏，以及这种行为所带来的自我毁灭性后果。
《Traverse》｜把情绪变成一个可以进入的空间
《Traverse》是 Christina 在本次毕业展中的重点作品。
灵感来源于音乐《Cornfield Chase》，她尝试通过灯光、镜面、空间层次与可移动装置，将 “迷茫、孤独与希望” 三种情绪，转化成一个可以被观看与进入的舞台空间。
“我想把听音乐时感受到的情绪，真正变成一个可以被看见的空间。”
《Traverse》没有采用传统的舞台叙事方式。相比 “讲故事”，它更像是在营造一种情绪流动的状态。
随着灯光变化、装置移动与空间转换，观众像是慢慢进入一个介于现实与意识之间的场域。那些原本抽象的感受，也在舞台中逐渐变得具体。
为了完成这件作品，Christina 使用了石塑黏土、木板、镜面纸、PVC 板、彩色灯带、布料与沙盘模型等不同材料，反复进行搭建与调整。
而创作过程中，最让她印象深刻的，却是一整天 “和黏土较劲”。
“有一天我一直在模型上糊石塑黏土，最后黏土干在手上，在洗手盆搓了半个小时都没洗干净。”
那些不断修改、推翻与重新搭建的过程，也慢慢留在了作品里。
在 Christina 看来，真正无法被替代的，并不是某一种视觉风格，而是创作者如何把自己的感受一点点转化成作品。
《Traverse》中关于 “迷茫、孤独与希望” 的情绪，并不是被直接 “设计” 出来的结果，而是她反复听音乐、不断调整空间与灯光之后，慢慢沉淀出的感受。
那些犹豫、停顿、推翻与重新开始的时刻，最终都成为了作品的一部分。
也许，舞台设计从来不只是 “搭建一个空间”。
它更像是在光影、声音与结构之间，为那些无法被直接说出的情绪，找到一种存在的方式。
而属于 Christina 的那条 “看不见的线”，也正在延伸向更远的舞台。
University of the Arts London — Wimbledon College of Arts
The Royal Central School of Speech and Drama
Royal Welsh College of Music & Drama
Nottingham Trent University
University for the Creative Arts
Savannah College of Art and Design
Three Explorations of Space and Perception
In this graduation exhibition, Christina presents two stage design projects alongside one visual arts experimental project.
Each work approaches a different focus—social issues, environmental narratives, and emotional perception—reflecting her ongoing exploration of how the stage can carry emotion and expression.
In this project, I was inspired by the music Cornfield Chase and aimed to use lighting and movable props to create atmosphere, transforming abstract sensations into a concrete stage design for an experimental concert.
Christina's Graduation Project: Taverse
In order to express the chaos I observe in everyday life through a different approach, I chose moving image as my medium and dreams as the vehicle for expression. Using abstract elements, I reinterpret the disorder and confusion caused by certain transgressive behaviours.
This project is presented in the form of a short film exhibition. Through the film, I hope to encourage viewers to reflect more deeply on broader social issues.
Christina's Graduation Project:Chaos
This project is an original stage play inspired by the socially controversial issue of environmental pollution.
The story follows a nuclear power plant owner who falsifies data in order to discharge radioactive wastewater into the ocean for profit. Unexpectedly, he swaps souls with a shark, allowing him to directly experience the suffering caused by pollution and mutation. He attempts to stop the destruction, but faces opposition, ultimately provoking retaliation from marine creatures. On the eve of his soul’s return, he destroys his own body, and his spirit fades into nothingness.
Through this allegorical work, I aim to explore the use of stage lighting to express characters’ emotions, while also critiquing humanity’s exploitation of nature for profit and power. The project highlights the ecological damage caused by human actions and reveals the self-destructive consequences that arise from such behaviour.
Christina's Graduation Project:Crack
Traverse | Transforming Emotion into a Space to Enter
Traverse is Christina’s featured work in this graduation exhibition.
Inspired by the music Cornfield Chase, the project explores how lighting, mirrors, layered spatial structures and movable stage elements can transform the emotions of “confusion”, “loneliness” and “hope” into a stage environment that audiences can physically and emotionally enter.
“I wanted to turn the emotions I felt while listening to the music into a space people could actually see and experience.”
Rather than following a traditional theatrical narrative, Traverse functions more like an emotional environment.
As the lighting shifts and the structures move, the audience gradually enters a space suspended somewhere between reality and consciousness. Abstract feelings slowly become tangible through the stage itself.
To create the project, Christina experimented with a wide range of materials including stone clay, wooden boards, mirror paper, PVC panels, coloured lighting strips, fabric and miniature stage models.
One of the moments she remembers most clearly was spending an entire day working with stone clay for the model.
“The clay dried all over my hands, and I spent half an hour scrubbing it off in the sink.”
The constant rebuilding, adjusting and reworking gradually became part of the work itself.
The Traces Left by a Creator
For Christina, what cannot truly be replaced is not a particular visual style, but the way a creator slowly transforms personal emotions into a work.
The emotions within Traverse— confusion, loneliness and hope — were not simply “designed”. They emerged gradually through repeatedly listening to the music and continuously adjusting the space and lighting.
The hesitation, pauses, revisions and restarts eventually became part of the final piece itself.
Beyond the Stage,
the Work Continues
IPerhaps Stage Design Is Never Just About "Building a Space"
It is about finding a way for emotions to exist — through light, sound and structure.
And Christina’s own “invisible thread” is already extending towards a much larger stage ahead.
声明： 本文内容为国际教育号作者发布，不代表国际教育网的观点和立场，本平台仅提供信息存储服务。
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