青少年觀衆的審美回應：以《昆蟲世界》作個案研究

A Case Study of Aesthetic Responses of Young Theatre Audience: The Insect Play

譚寶芝(Po-Chi Tam)

審美體驗 ； 觀眾研究 ； 觀賞者回應 ； 劇場與觀眾之關係 ； 審美回應層次 ； aesthetic experience ； audience research ； spectator response ； the relationship between theatre and audience ； level of aesthetic response

藝術教育研究

20期（2010 / 12 / 01）

67 - 92

繁體中文

本文以香港中英劇團製作的翻譯劇《昆蟲世界》進行個案研究，目的是從學生角度探討他們對到劇場觀賞戲劇這藝術活動的觀感，以及具體的審美體驗。研究深入訪問了十四初中學生，發現他們對學校安排的戲劇觀賞活動，採用像上課一樣的觀賞立場與行爲。不過，有趣的是《昆蟲世界》諷刺的體裁與非有機組織等特點給予學生主動地參與劇場的機會。據觀眾爲本回應理論看，學生會引用生活上熟悉的來理解戲中不熟悉的，又挪取戲中新奇的去重新審視生活上習以爲常的。這種穿梭於戲裡戲外的對話，賦予了戲劇以及自身生活新的意義。因此，學校與劇團都應該把他們看成是真正的觀眾，並聆聽他們的聲音，務求發揮劇場改變的力量。

This is a case study of the aesthetic responses of a group of young theatre audience towards a play called The Insect Play. It aims at investigating Hong Kong junior secondary school students' views and experiences about drama work by using the in-depth interview method. The results show that they adopt a learning attitude and display correspondent behaviours in the theatre. However, as an open text which promotes dialogic participation instead of empathic understanding, the play gives ample room to the young audience to construct their own interpretations. Through making intertextual connections between the drama and the reality, the young audience is able to develop their critical stance on the characters and even overthrow the meaning of the play for new ones. Tensions between the conventional socio-cultural perspectives about theatre-going and the inherent transformative power of the theatre are identified in the study. The results remind theatre educators that they should listen to the voices of the young theatre audience and place them at the centre of all kinds of theatre educational activities.

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