兒童劇舞台設計思維

Stage Design Concept in the Children's Drama

李榮山(Rung-Shan Lee)

指導教授 ： 王世信

國立臺北藝術大學/戲劇學院展演書面報告/劇場設計學系碩士班/碩士(2012年)

摘要

「兒童劇」即以「兒童」為服務對象的「戲劇」，具有戲劇的一般特徵，但因為服務對象是兒童，在其內容與表現方式上更必須適應兒童的身心特質，而具備形象鮮明、結構單純、節奏連貫等特色。

舞台設計一職面對以兒童為觀賞對象的戲劇創作時，其設計工作上的專業性無異於一般戲劇。但在其專業的設計方法外，更必須兼顧兒童的身心發展，筆者稱之為「兒童劇舞台設計的特殊性」。

此展演報告從「兒童劇舞台設計的特殊性」出發，藉由筆者自身的兒童劇舞台設計經驗，經過觀察、紀錄、演出效果的反省，綜合歸納出舞台設計在兒童劇創作過程中扮演的各種角色，如：1.引導與安撫、2.認知、3.動態與變化、4.現實的打破與變形、5.顏色、6.由舞台設計所形成的空間行為、7.由舞台設計所形成的角色認知、8.互動、9.結尾與謝幕。並同時以動機、需求、認知等三面向，橫向貫穿各章節之間，作為檢視設計成效的向度。

就滿足需求與營造動機而言，舞台設計必須配合兒童的身心特質，提供一個適合觀演的環境，藉由環境氛圍對情緒的引導，克服恐懼與排斥。演出期間則藉由畫面的變化、顏色的變化、現實邏輯的反差、以互動營造情緒等，維持兒童觀眾的注意力與觀戲動機。另外在認知方面，舞台設計雖然在視覺上充滿想像力、強調變化與豐富的視覺刺激，但並非追求邏輯上的複雜晦澀，必須將多元的素材建立在清晰明確的架構上，從兒童思維的直觀性出發，藉由生活取材、顏色、佈景變化方式、由空間創造的行為與動作、區位的界定等，提供兒童在認知過程中具體而明確的訊息，幫助其對故事與場景的理解。

兒童劇舞台設計創造一個豐富多元兼具童趣的環境，來包圍故事主題，讓兒童藉由局部的「直觀」，以自己的視點發展出樂趣，獲得愉快的體驗。兒童劇舞台設計藉由環境的塑造，結合戲劇表演形成一個綜合的體驗過程，在兒童腦中形成雜亂紛呈的感覺記憶，與劇場外的生活知識交織，形成知識經驗的素材。

關鍵字

兒童劇 ； 舞台設計 ； 兒童心理學

並列摘要

Children's drama means taking the children as target clients, but its characteristics are just like other plays. Because target clients are children, contents and idiosyncrasies of the play must be suited to children's mind and body, and it also possesses the characteristics like bright images, simple structures, connective rhythms and so on.

Designing the stage for the children's drama is not different from designing the stage for other plays. But the difference is that the stage designer must be concerned about the development of children’s mind and body besides the specialized design methods. The writer called the difference ‘the particularity of set design of children's drama’.

The paper is based on ‘the particularity of set design of children's drama ’. This record is according to the writer’s experiences of designing the stage of children's drama ,and through observing, recording and collecting his thought after performance. Afterward the writer induced varied characters what the stage designer acted in the process of the creation. The results are as follows: 1. leading and appeasing, 2. Cognizing, 3. the movement and the change, 4. breaking and distorting reality, 5. the color, 6. the action what stage designers create, 7. the cognition of roles from stage designers, 8. Interacting, 9. a winding-up stage and responding to a curtain fall. And being the fact of viewing the result of design from motive, demand, and recognition passing through every chapter within each other.

For satisfying demand and construction, the designer must suit the specificity of children to provide an environment for watching and performing. Through the mood leading by atmosphere, they overcome the fear and rejection. During performing, keep concentration and movement by the variation of scene and color, the contrast of logic, and the mood via interaction. Although the stage designer must point on the variation of imagination and visual in the fact of cognition, designers don't pursue the complication of logic, but putting materials on the clear framework. Heading from the intuition of children via living, color, scene-changing, behavior, action, and the define of sections to provide the specific and clear information for their cognition, and helping them to realize the story and the scene.

The stage designer create a polybasic and colorful stage(environment) to match up the subject of stories, and let children be interesting in the play, moreover, they can find their own enjoyment by the sense of sight. Designing the stage of children's drama uses environment shaping and drama performing to form a combination process of experiences. Those form the memories in children's mind and become materials of knowledge and experience by intersecting with their living.

並列關鍵字

Stage design ； Child psychology

參考文獻

7.涂麗玲 (2005)，《我國兒童劇團之行銷研究》，元智大學藝術管理研究所碩士論文。

19.楊采薇 (2005)，《兒童劇場消費者購買決策過程之研究》，臺北藝術大學藝術行政與管理研究所碩士論文。

23.劉怡君 (2009)，《兒童劇場導演創造力歷程研究─以如果兒童劇團徐婉瑩導演『小花』為例》，國立台灣師範大學教育學院創造力發展碩士在職專班碩士論文。

33.Richard L. Gregory (2006)，瞿錦春、張芬芬譯，《視覺心理學》，台北市：五南。

參考文獻