The Creativity Process of Life Story Theatre with the Creation of Mr. Wan’s Three Women

• Main Authors: HSU, CHIEN-HUA, 許倩華
• Other Authors: CHEN, CHUN-MING
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/28532091317884754419

碩士 === 國立臺北教育大學 === 文化創意產業經營學系 === 104 === This study aims to find a model for creating life story theatre by observing and analyzing a true-life play named “Mr. Wan’s Three Women”. Mr. Wan is a shareholder of WHY NOT Theatre and he committed his true-life story to WHY NOT Theatre to create a real-life play of how he as an almost-retired man recalls the three important women in his life. The researcher divided the life story theatre creation into three phases, namely, preparation, rehearsal, and performance phases, and personally participated in and observed all phases of the play creation and performance. This study adopts a semi-structured interview method. The researcher interviewed two performers, who are also the play creators, by using the outlines based on the creative process proposed by Leonard & Swap（2000）. The researcher also interviewed the director who is the core-creator in the preparation phases by using the outlines based on the innovation process proposed by Kumar（2013）. The results of this study indicate that the director as a core-creator in the preparation phase has to know well about what the person who commits his/her life story wants to express in order to create an environment and organize the performers for the core of the play. The performers in this phase have to keep fit physically and mentally. It is worth noting that if the person who commits his life story wants to participate in the play, he/she has to be open-minded for communication. In the rehearsal phase, performers have to evolve creative ideas and the director has to facilitate their creative process and transfer these ideas into an executive plan for performance. In the performance phase, the director has to give the performers fully support and make sure they perform well by all means. The director and two performers also have to evaluate the performance for future improvement. In addition, the findings also suggest that the creativity process of life story theatre is repeatable and older people like Mr. Wan may reconnect with the social network and rebuild self-identity through participating in life story theatre.