創造思考技法融入國小六年級劇本創作教學之研究

A Study of Creative-Thinking Strategies on Playwriting of the 6th Grade Pupils

陳沛蓉(PEI-RONG CHEN)

指導教授 ： 潘麗珠

國立臺灣師範大學/教育學院/創造力發展碩士在職專班/碩士(2009年)

摘要

本研究旨在探討創造思考技法融入劇本創作的課程，以及學生在此教學過後，劇本創作的情形。研究對象為臺北市某國小六年級三十位學生。

研究者於學生六年級時，運用每週一到兩堂綜合活動時間，進行本研究。透過參與觀察紀錄、課堂學生書寫與問答紀錄、課後練習單、教師省思札記、個別訪談、學生劇本創作作品來蒐集資料，以質性研究法分析，歸納出以下結果：

創造思考技法融入劇本創作：腦力激盪法融入人物性格形容詞設計，學生運用時間越用越短、氣氛開放、討論活潑熱烈、產生負向批判的形容詞。奔馳法融入人物性格設計時，替代（S）、結合（C）、調整（A）、修改（M）、其他用途（P）在使用時，學生容易混淆。心智圖融入劇稿大綱，學生繪製的圖差異性高、適合擅長繪圖的學生、部份學生將心智圖做為創作的過程而非結果。

劇本創作的部份，分為主題、人物、情節與劇稿大綱、劇本技巧、作品內在隱含進行探討：（一）主題：「構思時寫出主旨，劇本內文能呈現主旨」的高達40％。（二）人物：創作姓名大致分為七類、學生創作人物以道德上「正面」性格的人物出現比例最高，佔34.2%。（三）情節與劇稿大綱：43.3%的學生將心智圖做為一個發展聯想的過程非結果。（四）劇本技巧：「衝突」使用率高居第一，89％的同學都使用到它，其次為「對比」85％，「曲折」67%，「新穎」佔44%，「懸疑」19％，「象徵」11％。（五）作品內在隱含：可以看出作者本身性格、作為學生的夢想與慾望抒發的空間、良善的結局。學生心路歷程的部份，研究者歸納學生創作思考類型大約分為：深思熟慮型、直覺型、模仿型、自己故事型。

本研究建立劇本創作教學流程與模式，供相關研究者作參考，希冀國內教育現場，在寫作研究推動得如火如荼之餘，別遺忘文學之美──劇本，能提供學生自由奔放的創作空間、天馬行空的想像、歡樂的生活經驗分享，以增進學生寫作與劇本編擬的樂趣，並培育一個個富有創造力的劇作家。

關鍵字

劇本創作教學 ； 創造思考技法 ； 劇本創作

並列摘要

The purpose of this study was to explore the effect of a course in playwriting designed based on Creative-Thinking Strategies. The thirty 6th grade pupils of elementary school in Taipei were recruited for the study to investigating their thought and actions.

One or two lessons each week were applied to carry out this study. The research employed qualitative methods of observation, the record of pupils’ action in class, notes from a teacher’s reflection, analysis of pupils’ script writing work and worksheets, and individual interviews to examine how the strategies influence pupils’ learning. The finding of the research was as followed：

While applying creative-thinking strategies to playwriting, it demonstrated that：Firstly, giving characters’ description based on Brainstorming, it was allowed pupils to utilize time effectively, lead to open-minded learning situation, develop a lively discussion, and produce negative adjectives. Moreover, refer to the method of SCAMPER, Substituted, Combined, Adapt, Modify, and Put to other uses, it seemed to make pupils unable to think clearly. In addition, combining scenario with Mind Map resulted in considerable difference in map-drawing. It gave pupils who possess great skill at painting a big advantage at map-drawing. However, drawing the map was regard as process instead of final work of playwriting by some pupils.

In regard to playwriting, the research aimed mainly at five portions, theme, characters, plots and scenario, writing skills, and metaphor. （1）Theme：The rate reached 40% for pupils to present the main subject correctly in case of making an outline of script ahead. （2） Characters：It was divided into seven personality types. It was the highest rate, 34.2%, to create positive personality traits.（3）Plots and Scenario：Mind map was regard as process instead of final work of playwriting by 43.3% pupils.（4）Writing skills：”Conflict” which was in the first rank of applying to playwriting soared 89%. Additionally, “Contrast” rose by 85 per cent, “Crisis” accounted for 67%, “Innovation” occupied 44%, “Suspense” stood at 19%, and only 11% of “Symbol” was employed. （5） Metaphor： It illustrated personality, dream, imagination, heart’s desire of a scriptwriter throughout his work. The researcher generalized a conclusion of pupils’ creative-thinking types from these findings：They were “Thoughtfulness”, “Intuition”, “Imitation” and “Autobiography”.

To sum up, based on the course design of the research, some recommendations about creative-thinking strategies on playwriting and further study in this field are offered. The beauty of literature, playwriting, allows students to develop their remarkable ability of creative-thinking, inspire their fertile imagination, and learn by everyday experience as well. Therefore, students are able to be stimulated consuming interest in writing and encouraged to be highly creative scriptwriters.

並列關鍵字

the methodology of playwriting ； creative-thinking strategies ； playwriting

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