國立臺南大學教師基本資料

基本資料
姓名 王婉容
系所 戲劇創作與應用學系
職稱 副教授系主任
電話 2601844
校內分機 7604
傳真 2601856
辦公室/研究室 ZA107-3
E-mail carlowa@mail.nutn.edu.tw
網址
專長/研究領域 【應用戲劇的創作】【應用戲劇演出實務及理論研究】【現當代表導演理論研究與創作實務】【歐美現當代戲劇理論研究與創作實務】【後殖民戲劇理論批評研究與創作實務】【女性主義戲劇理論批評研究與創作實務】【當代文化理論研究與戲劇批評】【老人口述歷史劇場的創作與演出研究】
 

畢業學校國別主修學門學位修業期間
臺灣大學臺灣外國語文學士1985~1988
印第安那大學美國戲劇理論碩士1988~1992
紐約社會新校大學美國表演工作坊導演碩士1995~1997
倫敦大學皇家霍洛威學院英國戲劇博士2003~2007

服務機關部門 / 系所職稱服務期間
國立台灣藝術大學戲劇系兼任講師1997/09~1999/07
國立台北藝術大學劇場設計系兼任講師1997/09~2001/07
踏搖娘劇坊 團長1997~今
新寶島視障者藝團 藝術總監1998~2001
國立台北藝術大學戲劇系專任講師1999/09~2001/07
國立台北護理學院醫護管理系兼任講師2000/09~2001/07
私立元智大學應用外語系兼任講師2001/09~2002/07
屏風表演班 戲劇顧問2001~2002
國立臺南大學戲劇創作與應用學系專任助理教授2008/08~2011/04
香港戲劇教育協會 博物館戲劇顧問2011/01-至今
國立臺南大學戲劇創作與應用學系系主任2011/05-至今
戲劇教育與應用學會 常務理事2011/07-至今

著作
名稱莎士比亞與台灣當代劇場的對話-發現莎士比亞-臺灣莎學論述選集
年度2000
類別專書
摘要 
關鍵字 
名稱布魯克
年度2000
類別專書
摘要
關鍵字
名稱我駕著翅膀穿透黑夜
年度2002
類別專書
摘要
關鍵字
名稱舞台光景
年度2003
類別專書
摘要
關鍵字
名稱“應用戲劇的開創性與實踐初探”。劇場事第六期。台南:台南人劇團﹐2008。48-54。
年度2008
類別專書
摘要
關鍵字
名稱“讓歷史走進當代生活”。劇場事第六期。台南:台南人劇團﹐2008. 86-95。
年度2008
類別專書
摘要
關鍵字
名稱“永遠前衛的彼得.布魯克”。空的空間。台北:中正文化﹐2008。165-176。
年度2008
類別專書
摘要
關鍵字
名稱Applied Theatre: International Case Studies and Challenges for Practice
年度2009
類別專書
摘要The extracted section of the paper discusses how Reminiscence Theatre in Taiwan presents the female narratives of life and subvert the dominant patriarchal ideology by representation and asserts the ethnic minorotys identity and womens identity at the same time as transgression.
關鍵字Reminiscence Theatre, Transgressive Practice, Representation and Subversion
名稱草地郎入神仙府
年度2009
類別專書
摘要導覽互動式劇場「草地郎入神仙府」一劇,運用戲劇段落及互動段落,兩者交織穿插,描寫清代府城城外的佃農,在媽祖廟會的熱鬧時節,進府城賣東西的路上,所遭遇的各路人馬和各式難題,藉此帶出清代府城常民百姓的生活,和城內城外的環境差異,在台南市的清代古蹟大南門城公園做了五場公開的演出。企圖用戲劇來活化歷史及進行歷史教學,豐富博物館原本較傾向靜態的文物展覽形式,並創造出大學和小學中嶄新活潑的歷史教學模式。
關鍵字博物館劇場、運用戲劇教歷史、歷史教學、導覽互動式劇場
名稱大肚王傳奇
年度2009
類別專書
摘要【大肚王傳奇】希望忠實地呈現出拍瀑拉族在十七世紀時面對眾多外來文化(荷蘭人、漢人及日本人)所面臨的族群生存與文化衝突的問題。在史實的基礎上,與史料的情節發展間,虛擬出前後兩個大肚王不同的個性,與他們對待外來文化不同的態度與處理方式,呈現出帕瀑拉族人面對外來挑戰時的勇氣和尊嚴,自身主體性的彰顯及實踐。同時以戲劇段落及互動方式的穿插串演,讓大小學生透過歷史來再現與反省這段沈痛的歷史。
關鍵字博物館劇場、平埔族歷史、多元族群與文化、運用戲劇學歷史
名稱Wan-Jung Wang(2009). Planting Trees of Drama with Global Vision in Local Knowledge:IDEA 2007 Dialogues. Jack Shu,Phoebe Chan(Ed.), Reminiscence Theater Crosses Cultural Boundaries through Performance of Memory(pp.99-113). Hong Kong:Theatre and Education Forum.
年度2009
類別專書
摘要本論文旨在探討『老人回憶劇場』如何及為何能透過回憶的重演,來促進不同文化之間的溝通及交流,從而跨越文化的界限。本文透過梅洛龐蒂『知覺現象學』的理論框架,以及迦德瑪的『詮釋學』及『觀眾接收理論』的觀念,來分析老人劇場中,觀眾感知表演的整體機制,以及欣賞『回憶劇場』的整體美學接收過程。 文中依序論證老人劇場是從身體知覺出發,整體而具有移情作用的感知過程,而非只是劇場符號的知性理解層次而已,所以能夠跨越不同文化,以身體的共同記憶來溝通交流;另一個共鳴層面,則是奠基於二十世紀人類共同的歷史經驗,諸如:戰爭與離散遷徙,這兩者交織作用,是造成觀眾能對老人劇場演出產生共鳴的重要原因。另一方面,觀眾和參與者在『回憶劇場』中透過老人表演,所感知到的不同文化,正是觀眾和年長參與者,可以藉著觀賞表演,拓展自己原來的文化視野的大好機會,這也是梅洛龐蒂的『知覺現象學』中所論及的人類普遍是藉著知覺中能覺察到的相似與相異的認知元素,來建立對事物的知覺和感知能力,而特別是接觸不同文化時,人的感知通常將會變得更為敏銳,因為正在努力認知不熟悉與不了解的認知元素,因此,異質的表演文化元素也就能讓知覺更加敏銳地去嘗試理解,而迦德瑪也辯證對文化歷史的理解與詮釋,是藉著差異的詮釋,來拓展既定的文化與認知視野,所以詮釋才會比創作更加重要,也能拓寬既定的文化視野。 本文亦引用了跨文化劇場的交流模式理論,來審視這種由『回憶劇場』所創造出來的交流方式,能達成讓不同文化間,更平衡的跨文化溝通新模式,原因乃基於上述知覺的認知結構以及多元詮釋意義的系統,在面對異文化交流時,必須涵括整個文化與社會背景,才足以充分理解表演的內容和形式,特別在老人劇場,演者與觀者在文化社會背景上的對等理解,可以反轉在文化市場中,既定的西方中心主義的詮釋霸權,讓不同的文化的老人劇場,以呈現本地文化為基礎,來交流和理解不同文化的表演內容,而不會以西方的觀點和模式來詮釋非西方的文化作品。本文以台灣的『歡喜扮戲團』、英國的『歲月流轉中心』演出,及在歐洲舉辦的回憶劇場藝術節演出為個案研究,觀察與分析這些演出的編創和排練過程,並檢視觀眾和參與者的觀戲反應來闡明以上的這個論點。
關鍵字老人回憶劇場、知覺現象學、詮釋學、跨文化劇場交流
名稱大眾不再沉默—應用戲劇的在地創新與實驗
年度2010
類別專書
摘要【大眾不再沈默-應用戲劇的在地創新與實驗】,收錄了筆者在台灣針對應用戲劇所創新展演的三種不同的戲劇形式的研究及省思,三齣劇作與演出皆為作者親自、策劃、創作、編導及撰寫,內容包括了:在台南戶外古蹟大南門演出與台灣歷史博物館合作的博物館劇場展演計畫,以及試圖反擊家庭暴力的社區劇場展演,還有大學生與研究生的口述歷史展演,不僅闡述與示範了應用戲劇與大眾中不同社群的多樣創作方法與合作樣式,也探討和論證著應用戲劇展演所蘊含的多元社會、文化及美學意義。
關鍵字應用戲劇、博物館劇場、社區劇場、口述歷史劇場
名稱應用戲劇美學論文集—永遠前衛,全球在地化與懷舊
年度2010
類別專書
摘要應用戲劇的美學議題繁複多元,這本論文集聚焦在反省國內外多樣的應用戲劇創作演出上,特別著力探討應用戲劇創演過程中的美學挑戰與議題。其中,包括了:全球博物館劇場、台灣與英國的老人劇場、當代前衛劇場、女性劇場,希望廣泛地研究台灣在地和國際上不同的應用戲劇創作方法和美學意涵,嘗試建構出一套應用戲劇的研究架構,並引介新興的全球應用戲劇理論及文化研究理論交叉論述,體現出應用戲劇豐富的創作形式和廣闊的研究版圖。
關鍵字應用戲劇、美學議題、當代文化理論、跨文化劇場交流
名稱歸零與無限
年度2012
類別專書
摘要本文描寫作者與其他兩位編劇與導演與盲人合作創作戲劇及演出的過程與挑戰,並實際記錄下這些演出的排練過程與遇到的挑戰,以及分享如何克服社會對盲人的約定俗成印象的問題,並彰顯盲人藝術身為特殊藝術的獨特性。
關鍵字盲人戲劇、特殊藝術、挑戰與突破
名稱The subversive practices of reminiscence theatre in Taiwan. Research in Drama Education, 11(1)此期刊於2009年更名為Research in Drama Education: The Journal of Applied Theatre and Performance,並於2010年成為SSCI , AHCI期刊。
年度2006
類別期刊論文
摘要引用後殖民理論及女性主義與文化地理學與身體理論中,身體與地方相互銘刻的理論,探討及論述台英老人劇場的戲劇創作與展演在台英社會中的後殖民文化意涵與美學特色。
關鍵字老人劇場、後殖民、女性主義、文化地理學、身體理論
名稱Wang, Wan-Jung. 王婉容 The Exploration of Age Exchange Centre’s Aesthetic Strategies in British Reminiscence Theatre. Research in Art Education. 16(Dec 2008): 109-136
年度2008
類別期刊論文
摘要 
關鍵字 
名稱Transgressive Local Act: Tackling Domestic Violence with Forum and Popular Theatre in “Sisterhood Bound as Yuan Ze Flowers” . Research in Drama Education:The Journal of Applied Theatre and Performance, 15(3). SSCI, AHCI 期刊。
年度2010
類別期刊論文
摘要This paper examines a community theatre project in Kaohsiung County, Taiwan aiming at tackling domestic violence by collaboration with local community female elders and the facilitator. The paper particularly investigates into how an outside facilitator could unfix the assumed community identities that tend to exclude outsiders or sub-groups in the community such as the Vietnamese Brides in this case. It also explores how the Boalian techniques such as the usage of joker, forum theatre and ‘hot-seating’ were adapted and changed in Taiwanese cultural and social context in order to engage the local audience to suggest alternatives in solving the domestic conflict revealed in the devised performance. The paper also demonstrates how these local community female elders employ the popular theatre strategies in the performance to tackle domestic violence. With subversive laughter, their performance stimulated the audience to defy the secrecy and horror of domestic violence in the community by their bold transgression of gender, ethnicity, age and profession on stage. Their performance also demonstrates the possibility of extending their ethics of care to the Vietnamese Brides in their community. . 跨界的地方展演-『圓仔花姊妹情』以論壇和通俗劇場挑戰社區中的家庭暴力 中文摘要 這篇論文主要探討由筆者策演的高雄縣大湖社區劇場為防治家暴所創作演出的『圓仔花姊妹情』一劇,如何與社區的婦女長者一起挑戰社區隱藏的家暴問題,與高雄縣社會局合作,在高雄縣偏遠社區巡演十場,引導社區民眾運用戲劇互動的方式,探索家暴議題,並親為家暴議題表達看法,建議不同的解決之道。 文中探討社區演出如何鬆動和挑戰了鄉村社區排斥和邊緣化外來族群的既定觀念,如來自東南亞嫁到台灣的新移民女性,而以戲劇展演來實踐嶄新的關懷倫理,劇中呈現出新移民女性融入台灣社會的困境,將她們所可能遭遇的家暴課題,納入社區公共議題討論的公開舞台空間,讓暴力不再躲在暗處。同時,文中也研究了波瓦被壓迫者劇場的重要戲劇互動策略,如︰丑客的運用,論壇劇場及坐針氈,該如何針對台灣的文化與社會背景及環境來進行轉化,以達成社區以戲劇方式對家暴議題進行公開討論,及提出多元解決方法及看法的目的。 文中也舉出這個演出特殊的表演方式,實例示範出這些受到敬重的台灣的長社區婦女如何運用她們所熟悉的通俗劇場的技巧,來嘲諷和批判男性的刻板印象及暴力行為,她們運用舞台上具有顛覆性的笑聲,大膽的性別反串及她們對族群、年齡和職業的有力顛覆及逾越,來挑戰和反擊素來被視為禁忌與恐怖的男性家暴行徑,年長婦女為社區新移民女性發聲的演出,也充分展現了她們將關懷倫理擴及到在社區中常隱而不見、居處弱勢的新移民女性的企圖心,讓她們的故事能透過戲劇再現,間接發聲,作為她們自身未來可能主動在社區發聲的第一步。
關鍵字社區劇場、論壇劇場、通俗劇場、家庭暴力議題
名稱運用戲劇教與學歷史-以導覽互動式博物館劇場的製作及演出「草地郎入神仙府」一劇為例。戲劇與教育專業雜誌,5,11-21。
年度2010
類別期刊論文
摘要本文將以在亞洲和全球都是創舉的『博物館戲劇』創作展演計畫為探討主題,研究南大戲劇系與台灣歷史博物館創新合作的導覽互動式博物館劇場的創作與演出。文中以筆者編導製作的【草地郎入神仙府】為例,探討戲劇教師應如何運用大學應用戲劇課程的製作與演出過程,讓修課的大學生,能透過排練與製作,以藝術的多元感知和想像的方式,來研究、學習並主動探索台灣在地的歷史,以表演和設計與製作,開發表現歷史多元新方式。同時,透過大學生的互動戲劇演出,讓參與教學及戲劇演出活動的小學生,能透過故事性的戲劇了解歷史,並運用穿插在劇中的互動戲劇形式,參與對歷史議題的討論,體會歷史人物的掙扎與困境,為他們提供解決之道,讓歷史藉著戲劇和互動,活生生地展現在孩子的眼前,也讓常在身邊靜止的古蹟,成為歷史故事的真實發生的『環境劇場』,讓孩子親身體驗古蹟活在當下的美麗與魅力。 這樣的運用『博物館戲劇』教與學歷史的演出計畫,能培養小學生對歷史思辯的思考能力,也藉著互動戲劇的技巧,刺激他們主動表達意見,幫助困境中的角色,這些實際參與改革社會的行動力,不但創造出一種嶄新的運用戲劇的歷史教學法,也開發出另一種以史料為創作展演藍本的應用戲劇新形式,開發大學生對歷史的詮釋、想像與展演的可能性。 文中以此次創作展演的中國清代故事【草地郎入神仙府】製作、演出及教學活動為例,分別加以闡釋分析,呈現出博物館劇場完整又實際的工作過程與方法。其中包括了:劇本創作-田野調查-排練製作-前置教學-戶外展演這一整套工作的流程和方法的分析,同時也引用了後現代歷史的賦予民眾歷史詮釋權的觀點,以及新式歷史教學的理念和方法,來分析與審視博物館戲劇演出對歷史詮釋及歷史教學所產生的創新影響。希望提供一套可行的【博物館劇場】創作、製作、演出及教學的模式,可以推廣運用,藉戲劇活化歷史,增進歷史人物與文物和當代社會直接對話交流的機會。同時,也論述了這整個創新實驗在應用戲劇美學開發上的前瞻性,和提出了過程中所遭遇的挑戰及因應之道。
關鍵字博物館劇場、運用戲劇教歷史、歷史教學、導覽互動式劇場
名稱An exploration of the aesthetics of an oral history performance developed in the classroom. Vol.15, No.4, November 2010, 563-577
年度2010
類別期刊論文
摘要This paper aims to explore a range of aesthetic aspects involved in the devising and production processes of oral history performance in a classroom setting. It touches upon the ethical dimension of aesthetics employing the Confucianist Wang Yang-ming’s aesthetic philosophy and Buber’s theories of relation as the theoretical frames. The devising process realizes the concept of aestheticisation of ethics by fulfilling the ‘I-You’ relations through the constructed dialogues formulated by the teacher-facilitator. This paper is divided into six parts to illustrate the whole aesthetic system - from aesthetic framework to reception. I apply Ricoeur’s narrative theory to analyze the cycle of re-interpretation and reception process of the personal narratives. Deleuze’s theories in ‘Signs and Memory’ have been employed to decipher how the signs of art have been distilled from personal memories. Bachelard’s poetics of space and Lefebvre’s theories of the subversive power of space has been employed to demonstrate the possibility of the presentation and subversion of body and space through performance. In conclusion, I apply Shusterman’s pragmatist aesthetics to argue that oral history performance put ethics into action by re-negotiating personal and collective identities through dialogical process and re-interpreting the past.
關鍵字oral history performance, ralational aesthetics, narrative theory, subversive power of body and space in representation
名稱Making Museum Theatre to Teach Aborginal History in Taiwan
年度2011
類別期刊論文
摘要Museum Theatre As a Way to Teach Aboriginal History in Taiwan By Dr. Wan-Jung Wang ABSTRACT The various aboriginal histories of Taiwan have been marginalized by the dominant Han people’s historical narratives for long. Nevertheless, their lives and stories have always been part of the history of Taiwan. This paper aims to use the process of making museum theatre about the Papora aboriginal people to reclaim their subjectivity by recovering their lifestyles and stories in the historical period. The theories of multicultural education and history teaching have been employed to advance the argument that the pedagogies of drama education used in the case study of the scripting, production and educational program of the Legend of King Dadu can affect and impact on the undergraduates and fifth graders in terms of their understanding and critical thinking of aboriginal history in Taiwan. The strategies, procedures and pedagogies of the project have been demonstrated and analyzed accordingly in this paper. I also argue that the implementation of this kind of educational action is also an active social intervention by taking part in the emerging political movement of the ‘Reclamation of the PingPu People’s Name,” a process that started in the 199
關鍵字Museum Theatre, multicultural education, drama in education as historical pedogogy
名稱再現與重塑地方感的老人回憶劇場展演-以香港、新加坡及台灣為例
年度2013
類別期刊論文
摘要在東亞和東南亞的現代都會社會裏,由於後現代與後殖民的政經文化社會的影響,再加上全球化與商品化的趨勢,在地的文化地景和都市面貌愈趨失去自我的特色及獨特的地方感, 也帶來居民強烈的失落感與困惑感。 然而, 老人回憶劇場的記憶展演卻奇妙而具體地再現了每個地區特殊的地方感,透過劇場中身體、聲音、歌舞、祭儀、社會習俗及個人或集體記憶敘事、地方語言和空間記憶的展演,重塑出空間、歷史與社會交織的三元性地方記憶,而地方記憶的重建也是重塑地方感的重要基礎與創造地方認同的根本來源。 本文擬由香港、新加坡和台灣的老人回憶劇場創作展演的實例來演示與證明,這些展演對重塑與再現地方感所產生的正面效果與影響;同時,本文也將運用列斐伏爾的空間生產理論,以及索雅第三空間的文化地理學觀點,加上後殖民主義與後現代主義中對全球化與在地文化之間辯證關係的批判論述,來分析東亞與東南亞地區的老人回憶劇場如何以具體的劇場美學策略來創作展演,達成重塑與凝聚地方記憶與認同的目的。同時也辯證在這個全球化的世代裏,以劇場表達在地出發對在地生活用心探索與努力反省的政治關懷,以及在地不同社群透過劇場創作和演出彼此深度溝通交流的倫理實踐,也是老人回憶劇場在全球在地化的現象中具體的藝術與人文的關懷實踐。另一方面,本文也將聚焦探討老人回憶劇場所常用的劇場創作方法與美學表現特色,論述其在全球另類戲劇美學發展中的特殊貢獻,並比較與分析香港、新加坡與台灣的老人回憶劇場展演在社會文化意義與劇場美學特色上的異同,以提供後進創作、研究者參考借鏡的實例,與進一步反省思考的多元方向。
關鍵字地方感、老人回憶劇場、全球化、後現代與後殖民、劇場表演中空間與身體的再生產與再創造
名稱New Imaginings and Actions of Drama Education and Applied Theatre in NIE4 in Asia
年度2013
類別期刊論文
摘要Since the end of 1980s in NIE 4-Hong Kong, Taiwan, South Korea and Singapore in Asia, progressive cultural and educational policies have developed along with tremendous economic growth, and a belief in the value of cultivating excellent human resources has provided the fertile ground to plant the seeds for Drama Education and Applied Theatre in schools and community settings. Drama Education and Applied Theatre projects have therefore been implemented in different ways and manners in different policy contexts and funding systems in the NIE 4 either through government programmes or Non-governmental Organization (NGO) and civil organisations. They have developed in different directions as well as encountering different problems over 20 years. This essay aims to give a brief survey and investigation into these innovative imaginings and actions in NIE 4 and it ventures to present the issues and concerns that practitioners are seeking to ponder and solve. It also aims to explore the relationship between these praxes and the respective social, cultural and political changes in these areas and investigate the various responses and efficacy these praxes in Drama Education and Applied Theatre have done to their respective societies as well as investigate the challenges they posed to the existing social and educational orthodox ideologies.
關鍵字NIE4 in Asia, Drama Education and Applied Theatre, Dissidence, Agency
名稱老人劇場的記憶詩學與劇場美學─以歡喜扮戲團 的演出為例。論文發表於台南大學戲劇創作與應用學系跨文化的對談2007應用戲劇/劇場國際研討會,台南市。
年度2007
類別研討會
摘要應用戲劇常因偏重社會參與及改革,及強調探討社區或社會議題,而較少著重探討它在劇場新美學的開發上,所展現的豐富可能性。其實,應用戲劇的主要創作內容和目標不同於傳統的戲劇,在劇場美學上的發展空間和表現形式也大為不同,特別注重觀眾和演出之間的互動及共鳴的交流。 歡喜扮戲團是台灣最重要的老人劇場演出劇團之一,以『台灣告白系列』感人的老人劇場,在台灣各地及世界不同的角落演出,引起廣大觀眾的深刻共鳴,並以其獨特的劇場美學,撼動人心,究竟是什麼原因讓他們的演出,讓人感動,久久不能自已?本文即擬以歡喜扮戲團的老人劇場的創作和展演過程為檢視的實例,作一個應用戲劇美學探討的示範,企圖分析出應用戲劇在創作和展演過程中,所涉及的兼具移情與反思的美學感知過程,以及其中所牽涉的廣泛東西方美學理論和範疇,再佐以歡喜扮戲團的老人劇場精彩演出片段加以實證,藉此標示出老人劇場所開創出的獨特的記憶詩學與劇場美學。 文中演示歡喜扮戲團的老人劇場如何取材於記憶,將記憶中的感官與情感記憶符號,以劇場的語言轉化為美的符號,並賦予記憶豐富的人生意義及美學意涵。文中運用了德勒茲分析普魯斯特【追憶似水年華】的【普魯斯特與符號】一書中的理論,建構起記憶的詩學理論,同時,再運用日本Wabi Sabi美學中對生命中時間所留下的痕跡的美感思索,論證老人身體與故事及表演中所留下的自然生命刻痕,所產生的時間滄桑的美感,及生命有限的感嘆,以及老人樸素自然、不假修飾的表演風格。並引用表演儀式性的美學功能和意義探討來分析歡喜扮戲團創新的美學,並探索在他們呈現的日常生活儀式如:洗澡、吃飯和兒童的遊戲儀式,背後所隱含的社會功能何其所產生的美學共鳴效果,是記憶詩學轉化為劇場美學的實際證明。 另外,也再度衍伸了德勒茲記憶美學中『封緘的容器』和『打開的箱子』的隱喻,來演示歡喜扮戲團演出中的舞台音畫動作組合及場面調度裡,所蘊含的多樣劇場美學,是如何豐富地展現了台灣常民生活記憶中所蘊藏的詩意及美感。
關鍵字老人劇場、記憶詩學、劇場美學、德勒茲、Wabi Sabi
名稱“達利歐弗—從傳統中創新的當代政治喜劇”。2008年5月發表於2008義大利劇作家達利歐佛(Dario Fo)國際學術研討會。2008義大利劇作家達利歐佛(Dario Fo)國際學術研討會論文集。台北:國立台灣藝術大學戲劇與劇場應用學系, 2008。261-271。
年度2008
類別研討會
摘要 
關鍵字 
名稱“再現台灣常民女性家庭與私密生活的記憶──以歡喜扮戲團近期女性口述歷史劇場創作為例”。2008年5月17日發表於2008年第四屆女節-女人製造女人演/研討會。2008年第四屆女節-女人製造女人演/研討會論文集。台北:女節, 2008。30-48。
年度2008
類別研討會
摘要 
關鍵字 
名稱“當代社區劇場在台灣的創作理念與方法的初步反省分析-以『台灣應用劇場發展中心』及『歡喜扮戲團』的近期作品為探討實例”。2008年11月1日發表於國立台灣大學戲劇學系探索新景觀-2008劇場學術研討會。國立台灣大學戲劇學系探索新景觀-2008劇場學術研討會論文集。台北:台灣大學戲劇學系, 2008。267-280。
年度2008
類別研討會
摘要 
關鍵字 
名稱文化跨越的美感旅程探究-以幽幽鹿鳴的觀演經驗為例
年度2011
類別研討會
摘要從拈花微笑聾劇團創作演出,改編自佛經的鹿王故事『悠悠鹿鳴』觀演經驗切入,試圖探討這個演出如何成功地跨越不同文化的界限(聾人與聽人、佛教人士與一般民眾、佛學會議中的英語觀眾),以獨特的美學達成彼此溝通共感的美感經驗的過程。文中將運用梅洛龐蒂的知覺現象學理論來分析不同文化如何以身體主體和共通經驗及普世價值為基礎,聽聾同台同步演出的不同凡響的表達形式,反而更強化了觀眾對此種不同文化表達方式的注意力,並進而得以拓展出觀者更寬廣的文化視野。同時文中也引用彼得布魯克的神聖戲劇理論,來論證『悠悠鹿鳴』在編導演的戲劇美學上諸多傑出的特色與貢獻。最後,也將深入探討『悠悠鹿鳴』作為一種特殊藝術的表達,所蘊含的政治與美學的豐富意涵。
關鍵字身體主體、特殊藝術、聾人戲劇美學
名稱Using Process Drama in Museum Theatre Educational Projects to Reconstruct Postcolonial Cultural Identities in Taiwan, Hong Kong and Singapore
年度2012
類別研討會
摘要Using Process Drama in Museum Theatre Educational Projects to Reconstruct Postcolonial Cultural Identities in Hong Kong, Singapore and Taiwan Dr. Wan-Jung Wang National University of Tainan, Taiwan Museums have been employing theatre activities in their educational programs to outreach youngsters for more than three decades all over the world since late 1980s; however, it is still quite a new experience for Eastern and South Eastern Asian countries. In the past three years, Hong Kong, Singapore and Taiwan started to use different forms of museum theatre in educational programs to represent their multiple histories and cultural identities through various projects and showcases. Among these praxes, process drama have been most widely employed by teacher-facilitators for youngsters to reconstruct their own interpretations of historical events and narratives through chosen and re-discovered historical fragments, often neglected and even forgotten in the past. I argue these process drama projects help the youngsters to re-construct their own ever-changing cultural identities of these places which are under enormous change day by day in their current postcolonial and postmodern conditions. I also try to demonstrate how these praxes cross geographical, historical, ethnic and cultural as well as community borders to translate historical narratives buried in their heritage sites, ethnic community histories or aboriginal intangible cultural heritage such as tribal dances, songs and rituals into contemporary dramatic enquiry activities and performances. Why are they interested in these praxes almost at the same time lately? What are their goals in these projects? What cultural and social meanings do these praxes carry and sustain? What are the aesthetic strategies they use in these programs and why do they choose them and how well do they work to achieve their goals? I would like to apply theories of museum theatre, process drama as well as postmodern aesthetics and educational theories and theories of post-colonialism to re-examine these praxes in their different cultural contexts to explore the above questions. In this paper, I will employ three case studies conducted in Hong Kong, Singapore and Taiwan from 2009 to 2011 with collaboration with local museums and educational institutions in these respective areas as concrete ways to compare their similarities and differences in their cultural and social contexts as well as in their usage of strategies, aesthetics and investigate their different social implications nowadays. The three researched case studies dealt with subjects about challenging the authorized heritage discourse by foregrounding the alternative and marginalized historical sites in Hong Kong, subverting the orientalist imagination of early Chinese immigrants in Singapore and restoring the forgotten aboriginal legends and histories to counter the fixed ethnic power structure and relations in Taiwan. From the observational and interview data that were collected from my field work in these three case studies, I will also explore how these praxes might have helped the participant students involved to re-construct their ever-becoming cultural identities in their distinctively different political, linguistic and social conditions in today’s Eastern and Southeastern Asia. I will also argue these educational praxes also carry strong and specific political and social meaning-making implications as well as potential for stimulating students’ social actions to respond to the three contemporary metropolitan societies. Keyword: Museum theatre educational projects, Post-colonialism, Cultural identities, Post-modern aesthetic and educational theories
關鍵字Museum theatre educational projects, Post-colonialism, Cultural identities, Post-modern aesthetic and educational theories
名稱Re-imagining Communities and Implementing Social Learning:The Comparative Study of Contemporary Community Theatre in Hong Kong, Singaporeand Taiwan
年度2013
類別研討會
摘要Since 1990s, Hong Kong, Singapore and Taiwan have faced their different political, social, economic and cultural challenges. Their community theatres during this period have also created diverse styles of performances and played distinctive roles to activate their public space, to represent and re-imagine their various communities and social groups as well as to form dialogues with their governments and among different communities. However, due to the similar historical background of these three areas in postcolonial and postmodern context, the comparative study among these areas can shed special light upon contemporary community theatre development in terms of examining the different faces of alternative modernity in Asian Chinese-speaking community. Not only from the cultural perspective, can this research benefit the world community theatre community, but also the forms and styles of the community performances created by these three areas can inspire and enlighten the community theatre research and practice. They have employed interactive strategies and performance styles which are drastically different from the mainstream theatre performances either commercial or avant-garde in order to activate their respective public space. They have performed by community people and in spaces other than usual theatres and auditorium in order to reach their different audiences for different purposes. Their performance texts vary from local legends and historical stories, famous heroes of specific communities, community narratives to environmental, political, social issues and concerns in order to communicate with the larger part of the audience from the community. Their performance styles are sometimes drawn from the local popular theatre traditions such as rituals, ritualistic performances and dances which would reach the public immediately but they would update them with contemporary reinterpretations and adaptations to make new meanings on traditions. Sometimes they would incorporate these styles with contemporary interactive theatre techniques such as forum and image theatre as well. Therefore in contents and forms, the community theatre in these three areas has created experimental, impressive and influential performances locally. Their unique aesthetic, political and ethical efficacy needs to be explored and evaluated in their specific social and cultural context as well as on international comparative level. I will employ different case studies in Hong Kong, Singapore and Taiwan based on field work research and reflective practitioners’ research to explore their similarities and differences in devising methods, performance contents and styles as well as their social and cultural meanings on how they specifically respond to their political and economic changes in their specific society and historical context. I also intend to investigate how these contemporary community theatre performances have re-imagined their different communities and re-defined the meanings of communities in our time. Particularly I would like to find out how these community performances in these three areas have participated activated the social dialogue between the public and the individual, between the public and the government so as to form the public space for citizens in these three areas. I would also like to argue the community theatre devising and performance in Hong Kong, Singapore and Taiwan is an actualization of cultural citizenship on local community level which can be expanded and learned on an international level to counter globalization.
關鍵字Community Theatre in Hong Kong, Singapore and Taiwan, Post-colonial and Post-modern, Public Space, Cultural Citizenship, localization and globalization
名稱Through the Kaleidoscope of Memory: Re-examining Performance of Memory in the Era of Globalisation
年度2013
類別研討會
摘要Memory and the performance of memory have been made into an industry as a global as well as local phenomenon. How shall we devise and represent memory to counter its commoditization and to bring forward the meanings of dialogical identity-making and cultural reproduction as we hope memory shall carry through applied theatre and drama education? What are the political implications in our remembering and forgetting mechanism in different social and political contexts? What are the aesthetic ways that we can represent our distinctive memory and what meanings these intra-cultural and intercultural aesthetic communication in memory performance can convey? What ethical implications memory contain in our era of globalization? What efficacy that memory count and matter ever more for our time? I would like to explore the politics, aesthetics and ethics as well as efficacy of memory and its performance in our time in this keynote speech. There will be case studies of memory performance in the field of museum theatre, heritage site theatre, oral history performance, reminiscence theatre gathered by the researcher from Europe to Asia as concrete ways to re-examine and re-evaluate these urgent and pressing issues stated above
關鍵字Performance of Memory, Commoditisation of Memory, Globalisation and Localisation
名稱國立台灣歷史博物館合作博物館劇場展演計畫結案報告
年度2009
類別技術報告
摘要針對執行一年半的博物館劇場展演計畫,進行資料的記錄以及工作流程、創作及演出方式、教學方案執行的細節記錄,並加以分析研究,以利後續的博物館劇場創作者、展演者及策劃者參考學習。
關鍵字