教習劇場是一種強調消弭舞台與觀眾席、演員與觀眾間第四面牆的劇場形式。在演出當中，觀眾有權進入舞台與角色互動，表達自我想法，化身為可觀可演的「觀-演者」，更成為演出的一部份。然而，隨著舞台空間與觀眾被動觀戲角色的改變，也讓該空間建構出一種，有如Augusto Boal 所提「Metaxis」（潛在性空間）之狀態。而在此一空間裡，戲劇角色與觀眾可以進行各項議題的討論與辯證。本文即欲以許瑞芳教習劇場作品《一八九五 開城門》為本，討論如何透過劇場元素與戲劇策略的使用，協助觀眾進入這個潛在性的想像空間，並探究此一潛在性遊戲空間所能提供觀眾之助益。 Theatre in Education (TIE), a unique format of the theatre, breaks the boundaries between stage/auditorium and actor/audience. In TIE, the audience is empowered to interact with the actors as the so-called spect-actor, and encouraged to express their viewpoints on the issue presented through role-play. Within such context, the interaction takes place in the state of Metaxis, a term coined by Augusto Boal which means the potential space constructed by the change of the stage and the passive role of the audience. This thesis takes Rey-fang Hsu’ City Gate Opening, 1895 as the main context, discussing how the operation of dramatic elements and conventions helps the audience get into the state of Metaxis, as well as exploring the benefit generated by Metaxis for the audience.
Relation:
戲劇教育與劇場研究，1(4)，87-116 Research in Drama Education & Theatre Studies, 1(4), 87-116
