「老人劇場」(reminiscence theatre) 做為「社區劇場」(community theatre) 之分類項目之一,其創作內容多以高齡者的生命經驗,以及在地常民的生活故事為基礎,透過戲劇形式的轉化後,進行各種藝文展演的推廣與傳承。 我國文化藝術的補助,官方向來扮演著十分關鍵的角色;1990年代初,我國老人劇場啟蒙時,正逢政府推動「社區總體營造」,以及「社區劇團活動推展計畫」政策,如此皆直接、間接地鼓勵其發展與茁壯。然而近年來,在諸多劇團的蓬勃成立與政府政策方向的轉變下,老人劇場的發展逐漸式微,其內涵與操作方式常僅被視為高齡教育或社會福利的一部分;而其所蘊含的非物質文化價值,難以受到重視與傳承;因此,老人劇團的創作與營運逐年衰敗,甚至面臨解散之危機。最根本的問題即在於政府對藝文團體的補助,多轉向挹注具經濟產值潛力的文創產業為主,如此便對少數劇場 (minority theatre) 產生排擠效應。 有鑑於此,本研究將以我國目前僅存的老人劇團 ─「魅登峰劇團」為研究對象,針對其組織營運、戲劇創作和社會參與等項目進行深入了解,一探臺灣當代老人劇場在「弱勢聲音」以及目前文化政策規劃下,其實際的運作情形與所面臨的經營問題;以及如何落實與地方、民眾的生活連結的初衷。最終期望提出相關具體建議,以供未來社區劇場發展及文化政策制定之參考,也為劇場表演與實踐建立一個批判性的視野。
“Reminiscence theatre” is one kind of the categories in community theatre. It usually adapts the elderly people's life experience and the stories of local residents for a drama, in order to proceed to the art performances and cultural heritage. In recent years, the establishment of various theaters and the change of policies directions made the reminiscence theatre gradually become underprivileged, and it is often regarded as a part of senior education or social welfare; therefore, the essence of this intangible culture has not been valued and inherited. The main problem is that the government’s investment is turned to the art and cultural industry which can produce more economic value. Regardingly, this paper investigates on the only reminiscence theatre group in Taiwan- the "Mei-Deng-Fong Theatre Group"- to explore its operation, creations and community involvement, as well as its problems and challenges. In the conclusion, this study proposes some concrete suggestions on the cultural policies which aims at the sustainable development of the reminiscence theatre.