寶寶劇場的創作發展與觀演互動之研究

Abstract

本研究聚焦於寶寶劇場的「發展」與「觀演互動」兩大核心議題。寶寶劇場作為專為0至3歲嬰幼兒設計的表演藝術形式，透過多元感官刺激與親子互動體驗，不僅促進孩子的感知與情緒發展，更成為親子共享藝術、建立情感連結的重要場域。首先，透過文獻分析法，蒐集並整理嬰幼兒的身心發展、國內外寶寶劇場的發展歷程以及劇場體驗規劃等相關資料，作為後續研究的基礎。本研究的方法是多重個案研究法與深度訪談法，藉由多重個案研究法，選取臺灣四個致力於寶寶劇場的代表性團隊——人尹合作社、両両製造聚團、大可創藝與不想睡遊戲社的寶寶劇場作品作為個案，並邀請8位具有不同經驗背景的團隊成員，進行半結構式訪談，深入探討寶寶劇場的定位與核心價值，了解表演者、寶寶與家長之間的觀演互動關係，進而分析寶寶劇場的演出前、中、後的劇場體驗設計。研究者也透過參與觀察法，實地至寶寶劇場觀賞演出，以真實紀錄輔助研究，增強結果的實用性與完整性。綜合各項研究成果，本研究探究寶寶劇場在臺灣的創作實踐及觀演互動之間的關係，並建構出以「演出前、演出中與演出後」為核心的劇場體驗規劃架構，補足寶寶劇場領域的學術空缺，也為劇團創作與觀眾經營提供具體實務建議，促進未來臺灣寶寶劇場的發展。This study focuses on two core aspects of baby theatre: its development and performer-audience interaction. Baby theatre, designed for infants and toddlers aged 0 to 3, uses multi-sensory stimuli and parent-child engagement to support early perceptual and emotional growth, while also fostering shared aesthetic experiences and emotional bonding. The study begins with a comprehensive literature review, examining theories of infant physical and psychological development, the evolution of baby theatre in both domestic and international contexts, and approaches to theatre experience design. This research adopts a multiple case study approach combined with in-depth semi-structured interviews. Four representative baby theatre companies in Taiwan──Double& Cross Theater Group, Zen Yi Production, Duck Art Studio, and Sleepless No Playground were selected as case units. Eight practitioners from these groups were interviewed to explore the positioning and core values of baby theatre, the interactions among performers, babies, and caregivers, and the structural design of theatre experiences across three temporal phases: before, during, and after the performance. In addition, participant observation was employed through field visits to live baby theatre performances, providing empirical support for the findings. Based on these findings, the study proposes a framework for baby theatre experience design across the stages of before, during, and after the performance. The results aim to bridge academic gaps and offer practical insights for creators and practitioners, contributing to the future development of baby theatre in Taiwan.