| Summary: | 碩士 === 國立東華大學 === 藝術創意產業學系 === 100 === The purpose of this play production, Dis-position, is to investigate the formation of “Indigenous Theatre” in Taiwan. My intention is to provide a model for cross-ethnic and trans-cultural interpretations in particular, and construct a reference for play-writing in general. Having compared and analyzed three different aborigine-related plays, such as SaSa at The Doorstep: Childhood Memories at Tribes in the 1960s, On The Road, and The Legend of Deer Hunting, I have identified the very common features among those dramas and then conducted fieldwork, script-writing, producing a performance, as well as holding an audience survey to complete this theatrical piece. The backbone of the story involves the struggles of aboriginal identification, in which the play Dis-position integrates various concepts derived from Aristotle’s Poetics, Bertolt Brecht’s concept of “alienation” from his “Epic Theatre,” and Augusto Boal’s Theatre of the Oppressed. Blueprinted by my years of theatre experiences, Dis-position highlights an intimacy between Man and Nature that frequents the “Indigenous Theatre.” By means of the Truku language and myth, the plot reaches its denouement of a car accident. Notably, the opening and the closing scenes are similar in order to suggest the feeling of powerlessness when confronting one’s destiny. It also represents a type of alternative dialogue between the author and the audience.
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