從博物館劇場學習理論探討香港歷史博物館的發展方向

A Museum-theatre Learning Perspective on the Development of the Hong Kong Museum of History

10.6686/MuseQ.201104_25(2).0002

謝妙思(Muse Tse)；劉仲嚴(Chung-Yim Lau)

博物館劇場 ； 香港歷史博物館 ； 建構主義學習 ； 情意學習 ； 歷史文化傳承 ； museum theatre ； Hong Kong Museum of History ； constructive learning ； affective learning ； historical and cultural heritage

博物館學季刊

25卷2期（2011 / 04 / 01）

19 - 41

繁體中文

博物館劇場強調公眾學習經驗的主動建構，通過博物館的情境氛圍進行建構式學習、情境學習、探索學習、情意學習與品德學習，帶來更多群體協作與互動的可能性。博物館劇場結合多媒體影音科技，配合迪士尼主題樂園式的行銷策略，既為博物館訪客帶來娛樂性豐富的感官體驗，增添博物館的吸引力，同時也促進文化旅遊及文化創意產業發展。它亦是展演口頭傳說、歌舞曲藝、民俗禮儀及節慶活動等非物質文化遺產的有效途徑，因而肩負歷史文化傳承使命。劇場帶來廣泛公眾參與，令博物館更能宣揚社會包容、社會承擔與關懷，是博物館民主化的體現。香港歷史博物館的角色，在1997 年香港回歸中國以後更形重要，認識香港歷史，成為香港人建構文化身分的重要內涵，而香港博物館在後殖民時代的發展方向更是一個重要議題。本文以香港歷史博物館為研究場域，藉由博物館劇場理論和事例分析，檢視其發展方向，並研擬具體發展方案。博物館劇場作為一個西方博物館概念，在應用與實踐上跟香港歷史文化氛圍存在一定距離。然而，在教育、文化經濟及歷史文化傳承方面，博物館劇場頗配合香港政策發展，為香港博物館展示拓展理論與實踐的疆域。

Museum theatre enhances constructive, contextual and experiential learning and provides a platform for discussion and interactivity, as well as fosters affective learning with regard to moral development. The use of digital technology and the integration of Disney management principles into museum informatics deliver sensational entertainment experiences and serve to promote cultural tourism and the development of cultural and creative industries. In addition, museum theatre is an effective tool for interpreting intangible cultural heritage, thus safeguarding historical and cultural heritage. It encourages public participation, social inclusion and the democratization of museums. Through a review of the literature, this paper aims to examine how the principles and practices of museum theatre may contribute to the development of the Hong Kong Museum of History, which has played a crucial role in the creation of cultural identity for the Hong Kong people especially after Hong Kong’s return to China in 1997. This paper finds certain discrepancies between the western museum concept and its application to the local environment. Nevertheless, the salient role of museum theatre in education, entertainment and heritage conservation is in line with relevant Hong Kong policies, making it one of the most visionary and innovative concepts of museum development. The conclusions and suggestions of this paper seek to arouse further research and attempts in museum theatre, to explore new possibilities and provide a glimpse into the future.

1. IMTAL., 2010. Key Definitions. Retrieved April 11, 2010, from http://www.imtal.org/Definitions.asp
2. Dewey, J., 1934. Art as Experience. New York: Perigree Books.
3. Benjamin, W.(1970).The Work of Art in the Age of Mechanical Reproduction.London:Jonathon Cape.
4. Bennett, S(1990).Theatre Audiences.London:Routledge.
5. Black, G.(2005).The Engaging Museum: Developing Museums for Visitor Involvement.New York:Routledge.
6. Bolton, G.(1985).Changes in thinking about drama in education.Theory into Practice,24(3),151-157.
7. Borun, M.(1977).Measuring the Immeasurable: A Pilot Study of Museum Effectiveness.Washington, DC:Association of Science Technology Centers.
8. Bresler, L.(Ed.)(2007).International Handbook of Research in Arts Education.Dordrecht:Springer.
9. Bridal, T.(2004).Exploring Museum Theatre.Walnut Creek, CA:Alta Mira Press.
10. Cameron, F.(Ed.),Kenderdine, S.(Ed.)(2007).Theorizing Digital Cultural Heritage: A Critical Discourse.Cambridge:MIT Press.
11. Carlson, M.(1990).Theatre Semiotics: Signs of life.Bloomington:Indiana University Press.
12. Cobb, P.,Confrey, J.,diSessa, A.,Lehrer, R.,Schauble, L.(2003).Design experiments in educational research.Educational Researcher,32(1),9-13.
13. Collins, A.(1999).The changing infrastructure of education research.Issues in Education Research: Problems and Possibilities,San Francisco, CA:
14. Corsane, G.(Ed.)(2005).Heritage, Museums and Galleries.Abingdon, Oxon:Routledge.
15. Crane, S. A(2000).Museums and Memory.Standford, CA:Standford University Press.
16. Csikszentmihalyi, M.(1996).Creativity: Flow and the Psychology of Discovery and Invention.New York:Harper Perennial.
17. Debord, G.(2003).Complete Cinematic Works: Scripts, Stills, Documents.Oakland, CA:AK Press.
18. Economou, M.(2003).New media for interpreting archaeology in museums: Issues and challenges.Proceedings from CAA2002, Computer Applications in Archaeology International Conference
19. Falk, J. H.,Dierking, L. D.(2000).Learning from Museums: Visitor Experiences and the Making of Meaning.Walnut Creek, CA:AltaMira Press.
20. Falk, J. H.,Dierking, L. D.,Foutz, S.(2007).In Principle, in Practice: Museum as Learning Institutions.Lanham:AltaMira Press.
21. Gadamer, H. G.(1994).Truth and Method.New York:Continuum.
22. Gardner, H.(1993).Multiple Intelligences: The Theory in Practice.New York:Basic Books.
23. Gardner, H.(1999).Intelligence Reframed: Multiple Intelligences for the 21st Century.New York:Basic Books.
24. Gardner, H.(1983).Frames of Mind: The Theory of Multiple Intelligences.New York:Basic Books.
25. Goodman, D.(1990).Fear of circuses: Founding of the National Museum of Victoria.Continuum,3(1),18-34.
26. Hein, H. S.(2000).The Museum in Transition: Philosophical Perspectives.Washington, DC:Smithsonian Books.
27. Henning, M.(2006).Museums, Media and Cultural Theory.Maidenhead:Open University Press.
28. Hilke, D. D.,Balling, J. D.(1985).The Family as a Learning System: An Observational Study of Family Behaviour in an Information Rich Environment.Washington, DC:National Science Foundation.
29. Hooper-Greenhill, E. H.(2000).Museums and the Interpretation of Visual Culture.London:Routledge.
30. Hooper-Greenhill, E. H.(1996).Museum and Their Visitors.New York:Routledge.
31. Hughes, C.(1998).Museum Theatre: Communicating with Visitors through Drama.Portsmouth, NH:Heinemann.
32. Jackson, A.(2007).Theatre, Education and the Making of Meanings: Art or Instrument?.Manchester, UK:Manchester University Press.
33. Jackson, A.,Johnson, P.,Rees Leahy, H.,Walker, V.(2002).Seeing it for Real: An Investigation into the Effectiveness of Theatre and Theatre Techniques in Museums.Manchester, England:Centre for Applied Theatre Research, University of Manchester.
34. Jeffery-Clay, K. R.(1998).Constructivism in museums: How museums create meaningful learning environments.Journal of Museum Education,23(1),3-7.
35. Johnson, L.(Ed.),O''Neill, C.(Ed.)(1973).Collected Writings on Education and Drama.Evanston, IL:Northwestern University.
36. Kellner, D.(1995).Media Culture: Cultural Studies, Identity and Politics between the Modern and Postmodern.London:Routledge.
37. Marty, P. F.,Jones, K. B.(2008).Museum Informatics: People, Information and Technology in Museums.London:Routledge.
38. O'' Neill, C.(Ed.)(1995).Drama for Learning.Portsmouth, NH:Heinemann.
39. O'' Neill, C.,Lambert A.(1987).Drama Structure: A Practical Handbook for Teachers.London:Century Hutchinson.
40. Osterud, N. G.(1992).Living living history: First person interpretation at Plimoth Plantation.Journal of Museum Education,17(1),18-19.
41. Pearce, J.(1998).Centres for Curiosity and Imagination: When is a Museum not a Museum?.London:Calouste Gulbenkian Foundation.
42. Perry, D.(1989).Indianna University.
43. Pitman, B.(1999).Presence of Mind: Museums and the Spirit of Learning.Washington, DC:The American Association of Museums.
44. Roth, S.(1998).Past into Present: Effective Techniques for First-person Historical Interpretation.Chapel Hill, NC:University of North Carolina Press.
45. Sachatello-Sawyer, B.(2002).Adult Museum Programs: Designing Meaningful Experience.Oxford:AltaMira Press.
46. Schauble, L.(Ed.),Glaser, R.(Ed.)(1996).Innovations in Learning: New Environments for Education.Mahwah, NJ:Erlbaum.
47. Schechner, R.(2002).Performance Studies.London:Routledge.
48. Schechner, R.(1968).TDR: The Drama Review,45(3),27-50.
49. Serrell, B.(1998).Paying Attention: Visitors and Museum Exhibitions.Washingron, DC:American Association of Museums.
50. Somers, J.(1994).Drama in the Curriculum.London:Cassell Educational Limited.
51. Sontag, S.(1977).On Photography.London:Sage.
52. Swortzell, L.(1990).International Guide to Children's Theatre and Educational Theatre.Westport, CT:Greenwoods Press.
53. Vergo, P.(Ed.)(1989).The New Museology.London:Reaktion.
54. Watson, S.(2007).Museums and Their Communities.New York:Routledge.
55. Way, B.(1981).Audience Participation, Theate for Young People.Boston:Walter H. Baker Co.
56. Winston, J.(1996).Emotion, reason and moral engagement in drama.RIDE,1(2),189-200.
57. 香港課程發展議會(2003)。藝術教育學習領域課程指引（小一至中三）。香港:香港政府印務局。
58. 張曉華(2004)。教育戲劇理論與發展。臺北:心理出版社。
59. 彭玉文譯(2001)。課室變法：創造劇與教育戲劇實踐。香港:香港教育專業人員協會。
60. 劉婉珍(2007)。博物館就是劇場。臺北:時報文化出版公司。

1. 許瑞芳(2016)。探究戲劇導覽之操作美學及其挑戰—以國立臺灣歷史博物館常設展「大時代．小劇場」戲劇導覽為例。博物館學季刊，30(3)，5-29。
2. 林雯玲(2022)。轉譯十七世紀大肚王國：《大肚王傳奇》之博物館／劇場形式、歷史再現與拍瀑拉族想像。戲劇學刊，35，7-35。
3. 蘇芳瑩、潘英海(2014)。Ko Ko，一場穿越美術館的探索之旅：解讀兒童藝術教育展之內涵與意義。藝術教育研究，27，29-62。