Devising Methods of Theatre-in-Education in Taiwan:Four Case Studies on Rey-fang Hsu’s TIE Work

• Main Authors: Ya-tzu Chen, 陳雅慈
• Other Authors: Chi-chang Tsai
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/82192137519129833455

碩士 === 國立臺南大學 === 戲劇創作與應用學系碩士班 === 99 === Theatre in Education (TIE), a unique combination of theatre form and educational objectives, differs from conventional theatre in the way that it provides learning opportunities by utilizing theatrical elements. It brings in topics related to every-day life issues to enable the audience to think and explore. Also, its format, with a clear emphasis on audience participation, often turns the passive audience into active spect-actors, so as to help them reach the goal of self-learning. It not only breaks the boundaries between stage/auditorium and actor/audience, but also demands a different set of devising and playwriting methods that can make the audience feel empowered. Rey-fang Hsu, an experienced TIE playwright and director based in Tainan, has written and directed four TIE pieces – The Completion of the Mansion, Dreams in the Wind, Opening the Gate in 1895, and Bridge of Ancestor – since 1999. This thesis investigates how Rey-fang Hsu, a local theatre practitioner who has developed a strong concern over Taiwanese people’s political and cultural identities, devised these identity-related TIE productions by using different theatrical and educational strategies, such as issue-based content and conceptual learning. By studying Rey-fang Hsu’s experience in creating TIE and the features of her devising approaches, the author of this thesis aims to piece up a devising mode that can be referred to by local practitioners when creating their own work of TIE.