Goffman戲劇理論的博物館研究──以台原亞洲偶戲博物館為例

Abstract

本研究是以Goffman戲劇理論（dramaturgy）探討在博物館中，觀眾與館方人員的行為與互動，藉此了解在博物館中，雙方對情境的區域劃分以及行為動機，並能對Goffman戲劇理論在博物館中的啟發或理論修正。

本研究為質性研究，採用文獻研析法、觀察法以及半結構式訪談，以台原亞洲偶戲博物館最為研究對象，資料蒐集包含管理人員、現場館方人員及觀眾進行訪談，探討其在博物館中的行為與動機態度。

研究發現Goffman的戲劇理論過於二元對立，且偏重靜態。在台原亞洲偶戲博物館中，觀眾與館方的區域劃分實際上會隨著時間與使用行為，對同一個空間的情境定義與區域界定有所改變。同時發現，觀眾與館方人員並非單純的是一方為「表演者」，另一方為「觀賞者」，雙方都是有交流互動，同時為「表演者」與「觀賞者」的角度在進行互動。另外，Goffman的戲劇理論未提到既是前台又是後台的「二元重疊」的情況，觀眾對博物館的認知同時存在觀眾的前台與自身生活的後台認知。另外，同樣的角色，但因為不同的社會背景，因此對於同一個區域的認知程度有所差別。The purpose of this study was to investigate the behavior and interaction of audience and museum staff in the museum based on Goffman's dramaturgy theory. The method used in this paper is known as observational method and interview method. This study took Taiyuan Asian Puppet Theatre Museum as a case. The research object includes audience and the staff of museum.

The findings of the research have led to the conclusion that in the same space, the definition of a region will change by the user’s behavior and time. Besides, audience and the staff of museum not just are performer but also are spectator, and they interact with each other. Moreover, Goffman's dramaturgy theory didn’t mention the situation that the region can be defined as front and backstage at the same time. And last, because of different social background, even the same role will have different degrees of the definition of the same region.