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Paper
1. 吳鷰儀, "從環境劇場探傳統文史思維――以《卦》為例," 止善學報第七期,朝陽科技大學通識教育中心, Dec, 2009.
摘 要:
從美國劇場理論家理察.謝喜納(Richard Schechner)的環境劇場,探討傳統文史思維。以廣義與狹義的環境劇場為骨幹,神話與歷史故事為身軀,太極與太鼓之表演方法為血脈,將東方文化傳統與西方表演藝術合而為一。
透過劇場展演,瞭解傳統文史思維之價值與傳承,以此傳統文史與表演藝術的結合與發展,使劇場藝術創作者探究文化傳統的價值與意義,傳遞文化傳統於劇場藝術觀賞者,進而在創作者與觀賞者間形成對於傳統文史之嶄新解讀與釋義,彰顯文化傳統之精神與價值。
《卦》乃依據太極及五行之概念出發,藉由西方前衛劇場――環境劇場為表演形式,運用非西方的表演訓練方法-太極拳與太鼓,展現神話及歷史故事,開拓東西文化融合之通識教育。
本文將分三部份,其一是環境劇場的定義與形式,其二是《卦》劇中的傳統文史思維,其三是《卦》劇的表現技法與意涵。另結論之。
關鍵辭:環境劇場、太極、五行、太鼓

Abstract:
The purpose of this study is to explore traditional culture and history thinking based on American theorist Richard Schechner’s environmental theatre. The performance of "Gua" utilizes general and specific definition of environmental theatre, Chinese myth and history stories and the performance theories of Tai-Chi and Tai-Ko to integrate eastern traditional culture with eastern performance theories.
The aim of "Gua" is to make the theatre artists to discover the value and meaning of tradition and culture and then to deliver traditional value and meaning to theatre audience throughout the "Gua" production.
Based on the concepts of Tai-Chi and the Five Elements, "Gua" was intended to expand the general education of integrated eastern and western cultures through the format of environmental theatre and the performance training of Tai-Chi and Tai-Ko.There are three parts. The first part is the definition and format of environmental theatre, the second is the traditional culture and history thinking of "Gua", and the third part is the performance theories and meaning of "Gua".
Keywords: Environmental Theatre, Tai-Chi, Five-Element, Tai-Ko
International Paper
1. Wu, YY., "Site, Community-Based Arts and Public Participation," 24th ETEN Annual Conference, Leipzig University, Germany, Apr, 2014.
Kuang-Fu Village, located in Wu-Feng District, Taichung City and built in early 1950, was the first established new town in Taiwan. As the first Taichung City cultural landscape in 2012, Kuang-Fu Village was advocated in accordance of Cultural Heritage Administration of Taichung City. There are tangible as well as intangible cultural elements in Kuang-Fu Village. According to the richness of its natural and cultural resources, a 9- day community-based event was planned, devised and executed in mid-December, 2013. This paper, therefore, aims to explore the cultural elements in the event and also to examine the implications of public participation under the community-based event. The paper achieves these aims through collecting relevant data from the event. Aim one emphasizes on the analysis of the tangible and intangible cultural elements in the event. Aim two focuses on the transformation of public participation, including memories, value, public arts, performances, local industries, etc. The Implications of public participation and the contributions for this context are discussed.

Keywords: community-based, public participation, cultural heritage
2. Wu, YY& Kung, SF., "The Implications of Cultural and Creative Industries towards Performing Arts in Taiwan," International Conference on Business, Sociology and Applied Sciences (ICBSAS’14),Kuala Lumpur, Malaysia, Mar, 2014.
Abstract—After cultural and creative industries advocated in accordance of the Taiwan government “Challenge 2008: Six-Year National Development Plan “, the total value production of CCI was at NT$699,273 million in 2011 more that at NT$440,000 million in 2001. Performing arts have been developed but still not very blooming in Taiwan. Various efforts were made to increase the audience or the total value of production in terms of the number of performance and productions in the performing arts industry. This review paper takes a literature searching approach. This paper, therefore, aims to understand the terminology of cultural and creative industries and performing arts in Taiwan. Also, this paper analyzes the implications of cultural and creative industries towards performing arts in Taiwan over a ten year period between 2002 and 2012. The emerging issues, trend and contributions for this context are discussed.

Keywords: cultural and creative industries in Taiwan, performing arts, performing arts industry
3. Wu, YY & Kung, SF., "Standard Industrial Classification of Performing Arts Industry in Taiwan:An Evolution of Performing Arts Professions," 7th Conference of International Forum on Urbanism, Creative Renaissance, Oct, 2013.
The aim of this study is to clarify the definition of the performing arts industry in R.O.C. Taiwan. Based on the historical background of performing arts, Standard Industrial Classification (SIC) in Taiwan and the research and statements of scholars, there are three purposes in this study. The first one is to examine the evolution of SIC in Taiwan and its modifications. The second purpose is to define the scope of the performing arts industry in Taiwan by referring to International Standard Industrial Classification, and other activity classifications used in some other regions, such as NACE and NAICS. The third one is to analyze the performing arts industry in Taiwan by collecting the statistics of the performing arts industry in the Industry, Commerce and Service Census results.

Keywords: performing arts, performing arts industry, standard industrial classification, international standard industrial classification
4. Wu,YY., "Doing Philosophy in Children’s Theatre: Story collection, Discussions and Performances," 15th ICPIC Conference in Korea, Jul, 2011.
According to Aristotle's theatrical critique Poetics, there are six elements necessary for theatre: Plot, Character, Idea, Language, Music, and Spectacle. Pixie, written by Matthew Lipman, presents the story in a theatrical situation in the last two chapters. Pixie is full of language, meaning, how we think and how a child tries to make sense of the world. All these features provide a new way of thinking about that adult-mediated theatrical inquiry and theatre production may create contexts for the learning and teaching of integrated units, literacy, literature interpretation, social studies, identification, and philosophy. The aim of study was to investigate adult-mediated theatrical inquiry and children’s theatre productions could help develop a community of inquiry and the notion of P4C during the pre-production period. The theoretical framework included how to do story collection, how to do playwriting during the pre-production period and how to put on performances. The story collection sources consisted of poems, chants, songs, stories, fairy tales, fables, picture books, daily life, etc. After the pre-production discussion with the team of children’s theatre production, the playwright adopted and re-wrote the collected stories and then had discussions with the team again, which helped the team develop a community of inquiry and the distinct notion of P4C. In these children’s theatre productions, theatre-as-education as an inquiry-based adult-mediated pedagogy extends thinking education through the use of dramatic and theatrical situations, such as characters, plots, languages full of incessant repetition of words and phrases, images, visual scenes, a variety of voices, etc.
Keywords: P4C, Children’s Theatre, Children's Literature
5. Wu,YY., "Folklore, Community Theatre and Culture," 7th World Congress of the International Drama/Theatre & Education Association, Jul, 2010.
This study was designed to investigate the relation among the folklore, community and culture, actualized by theatre into practice. The village people in Mingjian Township, Taiwan who are aged from 4-year-old to 85-year-old were invited to participate in this study. Some of these participants were invited to contribute the folklore of local spirituality, anecdotes and their lifestyles to theatre; some of these participants were invited to make a theatre production based on these stories heard in this study; some of these participants were invited to be audience in the theatre production.
The local spirituality in Mingjian Township, Xuan Tian Shang Di, is the local god guarding this little village. A series of festival events, which are the most significant and meaningful to village people, are annually held to celebrate the birth of Xuan Tian Shang Di. Through theatre, there is a series connection with folklore, community and culture in this little village, Mingjian Township, Taiwan.
This paper is intended to discuss the relation among folklore, community and culture through theatre. People within this community were exposed to community theatre and the paper details how they reacted.

Keywords: folklore, community theatre, culture
6. Lee, L., Wu, Y. & Shih, M., "The Application of Drama and Music Skills in Teaching Special Needs Children," The Commission Seminar in Bologna, and the Special Session at the 28th ISME World Conference, Jul, 2008.
Domestic Paper
1. 吳鷰儀, "那一夏,我們的戲很中國—兒童戲劇夏令營的教案設計與分享," 第五屆兩岸文化創意產業研究聯盟研討會, 臺灣成功大學創意產業設計研究所主辦, Jun, 2012.
摘要
教育戲劇(Drama-in-Education),起源於1960年代的英國,是運用戲劇與劇場的技巧,從事教學的一種方式。過程戲劇(Process Drama),主要倡導者有英國Cecily O’Neill教授及澳洲John O’Toole教授,企圖區分其與教育戲劇的異同,而引領發聲。
本教案分享,乃結合兩種教學方法,以戲劇為媒介,進行英語戲劇教學。戲劇活動,主要包含肢體、聲音、感官、角色與即興劇本創作等等。戲劇故事的背景,以五行相生相剋與萬物對應之關係為始。過程中,戲劇教師擔任演教員,以教師入戲的教學策略,引領學員進行英語戲劇教學活動。
本教案主要包含創作過程和成果發表兩個部分;其一,創作過程,主要著重在演教員引導學員創作的過程;其二,成果發表,則著重於學員與前來參與成果發表的家屬之互動為主。
關鍵詞:教育戲劇、過程戲劇、戲劇活動、教師入戲、演教員
2. 吳鷰儀, "擁抱自信-社區保母參與社區劇場之初探," 朝陽科技大學人文暨社會學院98學年度學術研究與創作成果發表會, 朝陽科技大學人文暨社會學院主辦, Mar, 2010.
社區劇場功能在於依據地區或具備相同興趣與目標之人士組成之劇場,推廣該社區劇場特定之目標或議題,凝聚其參與者之共識與推動社區之互動。透過社區劇場,開啟社區活動之價值觀與互動性,以此社區劇場形式與社區專業保母系統的結合與發展,使該社區劇場參與者探究其自我的價值觀與其社群文化之認同。
社區的主概念有地域、體系與行動三大概念,社區保母劇場,乃依據體系為概念。社區專業保母為相互關聯的社會體系,本研究以社區劇場為出發,探討社區保母劇團的成立對於參與者自信心的轉變歷程與自我文化認同之建立。
本研究設計與方法包含四部份:研究時程、研究人員、研究場域、資料蒐集與整理歸納分析等。本研究依據研究內容與研究問題,採用質性研究中的參與觀察法、訪談法和文件歸納整理方法。
3. 吳鷰儀, "從環境劇場探傳統文史思維," 「文化傳統與通識教育」學術研討會, 朝陽科技大學通識教育中心、建國科技大學通識教育中心主辦, May, 2009.
從美國劇場理論家理察.謝喜納(Richard Schechner)的環境劇場,探討傳統文史思維。以廣義與狹義的環境劇場為骨幹,神話與歷史故事為身軀,太極與太鼓之表演方法為血脈,將東方文化傳統與西方表演藝術合而為一。透過劇場展演,瞭解傳統文史思維之價值與傳承,以此傳統文史與表演藝術的結合與發展,使劇場藝術創作者探究文化傳統的價值與意義,傳遞文化傳統於劇場藝術觀賞者,進而在創作者與觀賞者間形成對於傳統文史之嶄新解讀與釋義,彰顯文化傳統之精神與價值。
《卦》乃依據太極及五行之概念出發,藉由西方前衛劇場──環境劇場為表演形式,運用非西方的表演訓練方法-太極拳與太鼓,展現神話及歷史故事,開拓東西文化融合之通識教育。
本文將分三部份,其一是環境劇場的定義與形式,其二是《卦》劇中的傳統文史思維,其三是《卦》劇的表現技法與意涵。另結論之。
Book and Report
1. 吳鷰儀, "戲建築~導.給孩子的戲," , 台中市:白象文化, Dec, 2011.
此戲劇作品創作報告,
挑選2005與2006朝陽幼SHOW劇場暨2007年佳音英語劇團年度公演為代表,
進行導演方法技巧與創作流程等之作品分析報告。

吾謹以此戲劇創作報告
獻給
過去 淡大的丁洪哲教授
現在 家人和朝陽的夥伴
未來 更好的自己和創作
2. 吳鷰儀等譯, "幼兒遊戲-以0-8歲幼兒園實務為導向," , 台北:華騰文化股份有限公司。, Jun, 2008.
何謂遊戲?該如何適當地將遊戲融入自幼兒園到一年級的課程之中?《 幼兒遊戲 》一書便是為了挑戰讀者去思考:究竟什麼是遊戲 ?
學習是遊戲的本質。我們透過三個核心概念(特性、作為表達自我、以及溝通的平台)檢視遊戲。此外,本書也將父母親的角色視為支持遊戲中不可或缺的一環。在時下趨勢、研究與實際教學現場中做直接的連結,以深入了解遊戲與幼兒在認知、情意、社會及身體動作方面發展上的關係。
為了讓讀者在遊戲理論之外,能夠更貼近教學現場,本書特別以專欄呈現教學過程中真實出現的場景或案例,以及教學工作者的想法和自省,期盼能夠提供讀者深思遊戲的意義,以協助讀者在實務經驗上更強而有力的基礎,在面對遊戲時能夠更加得心應手。
Other
1. 吳鷰儀, "IDEA2010 我思故我見," 2010 戲劇教育與應用國際學術研討會-在地與多元文化的展現, 國際研討會口頭發表, Nov, 2010.
中文摘要:
在IDEA2010巴西拜倫的會議中,Transformation 緊扣著每一個特別興趣小組和圓桌論壇。每次的圓桌論壇期盼能夠組成多元的對話網絡,並透過對話形式讓不同的洲際或社會文化背景的戲劇教育相關人士能夠發聲。
各界戲劇教育人士的齊聚與朝聖,參與文化交流、詮釋到所謂的國際合作,溝通與交流的形式不再只是語言,包含肢體、眼神接觸和感覺。將分享與探討以下兩點,其一是圓桌論壇的多元文化議題插曲,其二是國際劇場盛宴中的劇場語言。
亞馬遜河域原住民代表在圓桌論壇中提出,學術研究專家或團隊進入其領域進行研究的同時,使其反觀自我,並深信其傳統文化智慧與當今現代社會是並駕齊驅的。是故,在文化交流與國際合作的同時,對於不同文化之間的認識、瞭解與尊敬的平等態度,更甚於合作之後的實際產出。多元文化的融合、創造與產生,面對「全球在地化」的挑戰,應當帶來更多的和平、寬容與尊嚴。
傍晚雨後的國際劇場盛宴中,行程滿滿的劇場演出,來自香港、南非和巴勒斯坦的演出,讓說話和不說話,聽懂和聽不懂,都不是那麼重要,因為身體和眼睛才是演員與觀眾的交流工具。
「演員與觀眾共同存在的空間,就是劇場」,IDEA2010這場盛會中,上帝是唯一看懂所有的觀眾-在沒有翻譯的情狀下。
Abstract:
In IDEA 2010 7th World Congress of Drama/Theatre and Education, transformation went well and closely with special interest groups, roundtables, workshops, paper presentations, etc. Each roundtable formed a web of dynamic conversation among drama and theatre professionals from different continents and socio-cultural backgrounds who can speak for themselves.
Various drama/theatre professionals took participated in IDEA 2010 for inter-culturality and international collaboration. Verbal communication is not the only tool in IDEA 2010 world congress and also includes physical movements, eye contacts and feelings.
Local people in the Amazon spoke for themselves in public. One delegate of these local people mentioned that some professionals and researchers went to do researches on their lifestyles, languages and culture. Meanwhile, these local people were deeply convinced that their traditions and ancestors’ wisdom are competitive in the high-tech modern society. Hence, between inter-culturality and international collaboration, it is much more important to have a good understanding and respectful attitude for different cultures than to generate or present multi-culture. Reacting to the challenge of glocalization, the integrations of diverse cultures should come up with more peace and respect.
In the international festival of theatre, diverse theatre performances were well-arranged and fully scheduled. What impressed me most would be these theatre productions from Hong Kong, Palestine and South Africa. It did not matter if you can understand whatever performers said or not because the language between the performers and audience turned into physical movements and eye contacts. More reflections will be shared and discussed during this session.
2. 吳鷰儀, "與Dr. Patricia M. Cooper的午後會談," 毛毛蟲兒童哲學月刊, Aug, 2010.
3. 吳鷰儀, "東森YOYO幼兒園教材-戲劇篇," 台南:柏華文教股份有限公司, 2008.
4. 吳鷰儀, "東森YOYO幼兒園教材-戲劇篇," 台南:柏華文教股份有限公司, 2007.
5. 吳鷰儀, "國語日報藝術教室專欄-小小演員訓練班," 國語日報, Nov, 2004.