體驗區
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| 篇名 |
劇場化之公民參與新契機～以OD表演工作室《老童話》為例～
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| 並列篇名 |
Using a theatrical approach to promote civic participation: A case study of the“Old Fairy Tales”by Over Diamond Art Studio
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| 作者 |
謝華容(Hsieh, Hua-Jung)
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| 中文摘要 |
本文將以個案研究法，探討分析 OD表演工作室製作的實境實驗劇場《老童話》。《老童話》的演出，是參與式劇場類型之一，觀眾除了是劇情中的角色外，還要是有思考力和行動力的主體，故事的進行會因為觀眾的行動而有不同的走向。研究焦點將聚焦於實境實驗劇場，演出當下的觀眾角色，冀望達到兩個研究目標：（一）實境實驗劇場《老童話》演出過程中，如何建構觀眾參與的階梯？（二）實境實驗劇場《老童話》演出過程中，對話對觀眾有哪些面向的影響？OD表演工作室以觀眾為主體的脈絡去規劃整體演出，首先架構出人與人共同生活的場域，從關係中產生互動與對話，從關係中學習傾聽和理解，觀眾能認知到老人問題是存在你我左右，在有情感關係的基礎上，逐步搭建出觀眾參與的階梯：引導觀眾參與、陪伴觀眾參與、信任觀眾參與和交付觀眾參與權，建造出一座從傳統式劇場進入到參與式劇場的參與橋樑，並經由觀眾與情境對話、觀眾之間的對話和觀眾自我內在的對話這三個面向的堆疊，讓觀眾從感性到理性，再從理性回到情感面，多重感受交織在一起，促使觀眾與議題有更緊密的連結，以劇場化的方式提供新的公民參與方式，與公民教育新模式。
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| 英文摘要 |
This article uses a case study approach to discuss the Immersive Experimental Theatre of “Old Fairy Tales” produced by the Over Diamond Art Studio. “Old Fairy Tales” by the Over Diamond Art Studio is an example of Participatory Theatre, in which the audience members not only play a role in the performance, but also involves actively in the process of thought and action. The research study focuses on audience’s role Immersive Experimental Theatre. The research focus here is on Immersive Experimental Theatre, which emphasizes the current audience's role, and hopes to illustrate two research interest: first, how is audience participation facilitated through a step-by-step structure in the process of performance? Second, what are the myriad of dialogical perspectives for the audience? Over Diamond Art Studio contextualizes the audience as the subject in their performance structure. First, a field is delineated where people live together; then, through the relationships among people thus constructed, interactions and dialogues are generated, and people start learning to listen and understand each other in such relationships. Gradually, the audience-participants get to recognize the problems of the elderly in society. Such recognition is made possible by the emotional relationships that develop through the journey of audience participation: like a ladder, the theatrical journey guides the audience, first engaging them , and then encouraging and trusting them to participate, while at all times giving the audience the right to participate. Here the form of traditional theater bridge towards participatory theater. The theatrical experience is further enriched through the triple dialogic perspective thus formulated: a dialogue between the audience and the story, another between members of the audience, and the internal dialogue of the audience. The audience’s experience oscillates back and forth between an emotional? perspective and a rational perspective . This participatory theatre not only promotes a closer connection between the audience and the issue addressed, but also provides an innovative model for civic participation and civic education.
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| 頁次 |
083-113
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| 關鍵詞 |
參與式劇場
、實境實驗劇場
、公民參與
、對話
、關係
、Participatory Theatre
、Immersive Experimental Theatre
、civic participation
、conversation
、relationship
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| 卷期 |
37
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| 日期 |
201907
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| 刊名 |
藝術評論
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| 出版單位 |
國立臺北藝術大學
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| DOI |
10.3966/101562402019070037003
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