初探臺灣寶寶劇場中的家長行為與觀點：以《寶寶音浪》為例

Abstract

在兒童人權思潮的衝擊下，嬰幼兒的權利逐漸受到重視。經由國際上少數劇場工作者的發起的寶寶劇場，越來越多劇團開始以此關注嬰幼兒的發展及學習需求，並為其創作，寶寶劇場發展至今逾四十年，而臺灣近十年也累積不少作品。寶寶劇場由創作者、嬰幼兒及家長所組成，然而過去研究多關注創作者的設計理念和嬰幼兒對劇場環境及表演者的反應，家長的功能僅限於提供嬰幼兒觀察資料。臺灣尚無研究以家長為焦點，探究家長對於寶寶劇場的觀點及其在寶寶劇場中的行為。基於上述研究缺口，本研究邀請六組嬰幼兒觀眾及其家長參與《寶寶音浪》的演出，透過現場觀察，研究者記錄家長在劇場中的行為，並於演出後深度訪談家長，以釐清家長在劇場中行為與觀點。主要研究結果有三：第一，六位家長參與寶寶劇場的原因皆是基於家長本身豐厚的藝術經驗及人際網絡，是以能掌握本次的演出的時間、地點及售票資訊。也因個人偏好或運用空閒時間的緣故，願意安排本次參與寶寶劇場的行程。第二，六位嬰幼兒因氣質差異，對《寶寶音浪》中的劇場設計產生不同的反應，家長觀察到嬰幼兒在劇場中的反應行為後，出現三類行為：陪伴或鼓勵嬰幼兒採取行動的支持行為、試圖引導嬰幼兒視線或僅分享而不求回應的介入行為、及根據劇場須知規範嬰幼兒和家長自身行為等。第三，家長基於劇團宣傳和個人實際感受之經驗，認為寶寶劇場適合親子一同參與，且認為《寶寶音浪》大部分內容是以嬰幼兒為中心進行創作。本研究結果能提供創作者參考，對照家長回饋與劇團製作寶寶劇場的初衷，以此維持或調整未來製作的設計與宣傳，也供有興趣的家長及欲探究寶寶劇場的其他研究者參考。When children's rights are taken seriously, there is an increased focus on the rights and needs of babies, toddlers, and children. Thanks to the efforts of some theatre practitioners, theatre companies began to create dramatic plays specifically for young audiences, leading to the emergence of baby theatre, which has been developing since the 1980s. Over the past decade, several baby theatre plays have been produced in Taiwan. Baby Theatre involves the creators, the babies, and their parents. However, much of the research has concentrated on the concept of baby theatre or how babies perceive theatre spaces and performers. In Taiwan, there is a lack of research focused on the experiences of parents in baby theatre.To address this gap, we invited six groups of babies and their parents to participate in "Baby Sound Wave." The researcher observed and recorded the behaviors of both the babies and their parents during the show and conducted in-depth interviews with the parents afterward. The aim was to understand the behaviors and perspectives of Taiwanese parents in baby theatre settings.

The research yielded three main findings. First, parents learned about "Baby Sound Wave" through personal connections and their prior experiences with the arts, and they chose to attend the show based on their schedules and preferences for using their free time. Second, the babies exhibited different responses to the performance based on their temperaments. Parents reacted to their child's responses in three ways: they either supported their child's participation by accompanying or encouraging them, intervened by pointing out items on stage and discussing what babies might like, or behaved in accordance with theatre norms and manners.

Lastly, parents felt that baby theatre was accessible to families and that the content of "Baby Sound Wave" was suitable for babies and toddlers. The results of this study can help theatre practitioners compare parents' reflections with their original intentions for baby theatre, and consider maintaining or altering their designs and promotions. Additionally, parents and researchers interested in baby theatre may find this study beneficial.