兒童劇場的觀眾互動——為何而動？該如何動？ Audience Participation in Children’s Theatre: Why and How
Abstract
觀眾互動是否為兒童劇場不可或缺的元素，向來有不同的看法。有 人認為孩童天性好動、不耐久坐、注意力集中時間短暫，劇場裡的 互動能吸引孩童的注意力，滿足好動的需求，因此視為必要。但也 有人認為觀眾參與會中斷故事節奏、甚至干擾演出而不樂見。然 而，兒童劇場顧名思義是以兒童為主的劇場演出，兒童的特質與需 求應為創作的重要考量。不過劇場作為一種藝術表達形式，其獨特 的美感經驗似亦不應為了滿足兒童的需求而大打折扣，重點於兩者 之間如何取得平衡？兒童的發展特質如何為劇場美感經驗加分而非 成為創作的阻力？本劇場評論以2016年香港話劇團《「戲有益」兒 童劇場節》的兩齣作品為例，結合兒童行為特徵與認知發展理論， 以及相關兒童劇場互動的論述，分析劇中的互動活動設計與觀眾反 應，藉以探究兒童劇場良好互動的要素與呈現形式，提供兒童劇場 創作與賞析之參考。
關鍵詞：兒童劇場、互動、兒童發展
Full Text:
PDFReferences
阿米高（2016年7月）。兒童劇創作背後：導演在想甚麼？TEFOzine應用戲劇╱劇場雜誌，16，32-43。
林慧絢（2015）。重看兒童學習：在影像課程中的接合實踐。教育實踐與研究，28（1），207-240。
劉慧芬、于善祿（2007年9月）。「兒童劇場面面觀」座談會。中華戲劇學會文藝會訊。取自http://com2.tw/chta-news/2007-9/chta-0709-a1.htm
謝鴻文（2015）。《互動是必然或迷思？《伊索寓言》》。取自http://pareviews.ncafroc.org.tw/?p=15260
Afolabi, T. O. (2015). Theatre for young audience dynamics: The Danish model. Research inDrama Education: The Journal of Applied Theatre and Performance, 20(4), 483-489.
Cashdan, S. (2001)。巫婆一定得死 (The witch must die: How fairy tales shape our lives)。李淑珺（譯）。臺北：張老師文化。（原著出版年：1999）
Davis, J. H., & Evans, M. J. (1987). Theatre, children, and youth. New Orleans: Anchorage Press.
Fletcher-Watson, B. (2015). Seen and not heard: Participation as tyranny in Theatre for Early Years. Research in Drama Education: The Journal of Applied Theatre and Performance, 20(1), 24-38.
Goldberg, M. (2006). TYA: Essays on the theatre for young audiences. Louisville, KY: Anchorage Press Plays.
Klein, J. (2005). From children’s perspectives: A model of aesthetic processing in theatre. The Journal of Aesthetic Education, 39(4), 40-57.
Kuhn, S. (2008). Audience participation in children’s theatre performances. Retrieved from http://www.jugendtheater.net/fleadmin/inhalt/themen/pdf/xyz08engl_kuhn.pdf
McCaslin, N. (1981). Foreword. In B. Way (Ed.), Audience participation: Theatre for young people(pp. v-vii). Boston: W. H. Baker.
Manscher, P., & Jankovic, P. (2010). Eye-level. In M. Reason (Ed.), The young audience: Exploring and enhancing children’s experiences of theatre (pp. 41-42). Stoke on Trent: Trentham Books.
Pullman, P. (2004, March 30). Theatre - the true key stage. The Guardian. Retrieved from https://www.theguardian.com/books/2004/mar/30/booksforchildrenandteenagers.schools
Reason, M. (2010). The young audience: Exploring and enhancing children’s experiences of theatre. Stoke on Trent: Trentham Books.
Schafer, H. R. (2006)。兒童發展心理學 (Introducing child psychology)。陳仙子、任凱（譯）。臺北：學富文化事業。（原著出版年：2003）
Schonmann, S. (2006). Theatre as a medium for children and young people: Images and observations. Dordrecht: Springer.
Wartemann, G. (2009). Theatre as interplay: Processes of collective creativity in theatre for young audiences. Youth Theatre Journal, 23(1), 6-14.
Way, B. (1981). Audience participation: Theatre for young people. Boston: W.H. Baker.
Webb, T. (2012). Impossible audiences: The Oily Cart’s theatre for infants, people with complex learning disabilities and other young audiences who are primarily non-verbal. In T. Maguire & K. Schuitema (Eds.), Theatre for young audiences: A critical handbook (pp. 93-103). London: Institute of Education Press.
Wood, D. (2005). Twenty five years on whirling - before and since. In S. Bennett (Ed.), Theatre for children and young people: 50 years of professional theatre in the UK (pp. 103-114). Eastbourne: Aurora Metro.
Wood, D. (2012). Foreword. In T. Maguire & K. Schuitema (Eds.), Theatre for young audiences: A critical handbook (pp. vii-ix). London: Institute of Education Press.
Wood, D., & Grant, J. (2009)。兒童戲劇：寫作、改編、導演及表演手冊 (Theatre for children: A guide to writing, directing and acting)。陳晞如（譯）。臺北：華騰文化。（原著出版年：1997）
Refbacks
- There are currently no refbacks.