在他人故事看見自己：自傳劇觀眾經驗之研究

Chih-Hao Chang; Hsiu-Yun Tseng; Ta-Shan Chen

doi:10.6251/BEP.202412_56(2).0009

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P429 - 451

社会科学 > 心理学
社会科学 > 教育学

DOI： 10.6251/BEP

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在他人故事看见自己：自传剧观众经验之研究

Seeing Oneself in Others' Stories: A Study on Audience Experience in Autobiographical Therapeutic Performance

张志豪(Chih-Hao Chang) ；曾秀云(Hsiu-Yun Tseng) ；陈大山(Ta-Shan Chen)

教育心理学报； 56 卷 2 期 (2024 / 12 / 01) ， P429 - 451

繁体中文;英文 DOI： 10.6251/BEP.202412_56(2).0009

观众；自传剧；戏剧治疗；生命经验；演出者； audience ； autobiographical therapeutic performance ； drama therapy ； life experiences ； performer

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摘要 │ 参考文献 (47)

摘要〈TOP〉

并列摘要〈TOP〉

Autobiographical therapeutic performance (ATP) is a key aspect of drama therapy that combines self-exploration, drama, and psychotherapy. ATP involves participants choosing dramatic content and forms to reenact significant past memories, aiming for therapeutic and transformative outcomes. Drama therapists, performers, and audience members are essential components of ATP. Drama therapists help performers convey their life experiences to audience members through autobiographical plays. This approach creates a "relational aesthetic" between performers and audience members, which in turn facilitates self-exploration and transformation for performers. Most of the literature on autobiographical drama focuses on the roles and functions of drama therapists and performers, emphasizing facilitators' practical knowledge and methods and performers' experiences. Few studies have explored audience members' perspectives. Recent studies have indicated a shift in how humans perceive audience roles. Audience members are no longer viewed as passive observers in the theatrical experience, who simply witness performers' transformative healing processes. Instead, audience members can reflect upon their own life roles through the performers' creations and presentations. Audience members are increasingly acknowledged as active cocreators, integral to the performance. Research has started exploring the audience members' participation in drama therapy. This study specifically examined the audience members' perspective, exploring the rich inner experiences that unfold within audience members as they engage with ATP. It also investigated the emotional connections between audience members and performers, the self-dialog within spectators' minds, and the long-lasting meanings that theatrical encounters impart. This study employed a phenomenological qualitative approach divided into two stages: performance and interviews with audience members. In the first stage, the primary researcher prepared and planned a public ATP. In group workshops, four volunteer performers were invited to explore their life journeys and identify core life issues. Subsequently, they engaged in script creation and rehearsals for their individual ATPs. In the second stage, semistructured in-depth interviews were conducted after the performances. A thematic analysis was used to examine the experiences of three audience members who watched four ATPs. After more than a year, a follow-up survey was conducted, in which audience members were invited to share their postviewing experiences and the effects of the ATPs on their daily lives outside the theater. According to the research findings, ATPs enable performers to arrange and present their personal life experiences through drama, providing a pathway for audience members to understand these experiences. While watching a theatrical performance, the audience prepares mentally, setting psychological expectations regarding their engagement with the performer's actual experiences, thereby focusing their attention. When audience members watch ATPs, they typically expect the performances to authentically reflect the performer's real-life experiences. This expectation helps them form a "you and I" connection with the performer, which immerses them in the performer's world. By establishing a relationship between the performance and their own life experiences, audience members create emotional connections that can lead to revisiting past experiences. When the experiences of audience members are similar to those in the performance, their emotional projections tend to generate resonance and establish shared feelings. However, if the performance's content is unrelated to the audience members' life experiences, the audience members tend to select different internal experience pathways because of their unfamiliarity with the performer's life experiences. In dissimilar experiences, understanding is enhanced as audience members create connections and dialogs between their own life experiences and the performer's work. In similar experiences, audience members tend to resonate with the plot, internally enacting their own drama and even imagining themselves in the performer's role. This approach enables them to re-experience unresolved psychological issues. By contrast, in dissimilar experiences, audience members tend to use their imagination to empathize with the performer's suffering. When presented with unfamiliar performance techniques or plot elements, audience members may experience emotional detachment or choose to disconnect emotionally. After watching an ATP, audience members tend to engage in self-dialog, reflecting upon the performer's perspective. This process increases their sense of agency and affects their daily lives. Even more than a year later, audience members continue to relate their own experiences with those of the performer, thereby offering support and reparative experiences. They also tend to respond to their viewing experiences with concrete actions that reflect ongoing engagement and personal growth, and they tend to find meaning in life and complete their journey of self-healing within the ATP. This study visualizes and integrates various findings to create a structural diagram of the audience members' internal experiences, demonstrating how proactive engagement enriches their interaction with ATPs. The findings highlight how audience members' experiences in ATPs differ from those in conventional theaters. Recommendations are offered to inform future research methodologies and drama therapy practices, specifically for ATPs. These recommendations enhance the artistic process of ATPs. They also mitigate potential alienation due to disparate life experiences and foster meaningful therapeutic effects for audience members, thereby promoting personal growth and self-reflection while encouraging discussions on societal and personal issues raised by ATPs. Ultimately, these recommendations aim to link audience experiences with the therapeutic process, optimizing the transformative potential of ATPs. Further research is required to increase the diversity of audience experiences and analyze the nuanced interactions between performers and audience members in real time. Additional research is also required to explore how these shared experiences influence and shape life experiences inside and outside the theater. As a dynamic and evolving field, drama therapy should refine the artistic process of ATPs by reducing alienation and focusing on the audience members' psychological processes, emotions, and cognitive responses as an integral component of the drama therapy framework. This approach would enhance the exchange and integration of life experiences between performers and audience members in a profound and transformative manner.

参考文献 ( 47 ) 〈TOP〉

李文玫, W.-M.,丁兴祥, W.-M(2008)。剪断肚脐带，要做大人样：一位客家女性生命处境中的「困」与「寻」。应用心理研究，39，121-164。
连结：
林雯玲, W.-L.(2023)。东南亚移民说、演生命故事：民众戏剧《看．见．我．们》、《穷人的呼声》与《我有一个梦》的情动空间与政治。戏剧研究，31，131-168。
连结：
张志豪, C.-H.(2019)。自传剧应用於青年培力工作之经验分析。生命叙说与心理传记学，7，233-261。
连结：
张志豪, C.-H.(2021)。戏剧治療方案在提升高风险家庭青少年复原力之经验研究。生命叙说与心理传记学，8，185-222。
连结：
张志豪, C.-H.,张文怡, W.-Y.(2023)。来一剂「虚拟疫苗」：戏剧治疗线上团体之工作者实务经验探究。教育心理学报，54，563-582。
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