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  • 發佈單位 / Unit:臺中市政府文化局
  • 更新日期 / Date:2012-11-02

石岡媽媽劇團

石岡媽媽劇團
石岡媽媽劇團
團體名稱 : 石岡媽媽劇團
英文名稱 : Shikang Mama Theater
團體類型 : 現代戲劇類
團長 : 楊珍珍
地址 : 台中縣石岡鄉豐勢路梅子村和順巷13-6號
連絡人 : 楊珍珍
電話 : 04-25821109,04-25814771
簡介 : 2000年四月中旬,台北市「跨界文教基金會」結合「差事劇團」、「遠足影像製作社」以及「台灣民眾音樂研究社」成立「吹鼓吹災區藝文工作隊」,在埔里、和平鄉雙崎部落,以及石岡三地進行為期一個多月的攝影、歌謠、以及戲劇等課程,希望藉由外界資源,協助災區民眾,透過攝影機鏡頭、歌謠、以及戲劇等方式,重新紀錄、觀察自己的生活環境;並且從切身生活、及地震的經驗出發,對地方的未來發展,再一次的進行反省與思考。
地震後一年,「石岡媽媽劇團」在財團法人跨界文教基金會導引下,隨著89年「石岡媽媽劇團」成立至今,經過近三年戲劇工作坊課程後,這群石岡媽媽們,在身為人母、人妻、與果農(或早餐店老闆)的多重身分下,透過戲劇的方式,展現出台灣農村婦女生命的韌性與母性本能令人撼動,也意味著災後重建的一個新的契機、與災後的一個另類思考。

發展

三年多來,「石岡媽媽劇團」不斷地在社區以「民眾戲劇」呈現的方式,代表台中縣石岡鄉社區與其它社區的民眾對話並分享女性自覺意識的成長經驗。在對外地方的文化活動上,儼然為石岡社區的文化代表。對內而言,有著多場巡迴演出經驗的媽媽們,走出石岡鄉與地震經驗,也再重塑身為女性自覺意識的新經驗與新視野。

歷程

「石岡媽媽劇團」的成立和演出,在一定的程度上,呈現了社區劇場如何與成人教育結合的具體案例。從「心中的河流」的演出中,我們看見「石岡媽媽劇團」嘗試從不斷的戲劇課程中,尋找出一種社區劇場的美學能力,以提升表演的質感,更為細緻與活潑生動傳達表演內涵,也才更落實社群團體交流的社會實質意義,同時也改變一般大眾對本社區劇場美學藝術流於製作粗糙的印象,更創造農村婦女另一種生命力的表達,這僅非是對一個因為地震而投以同情眼光的社區戲劇團體的認知,而是更遠遠的超越了同情瞭解的層次,進入石岡媽媽們的表演生命內涵中。因此,對「石岡媽媽劇團」而言,不僅僅只是一場戲劇而已, 更是一趟生命的旅程…,關於生命告白的旅程….。媽媽們希望,透過戲劇持續的延展石岡社區媽媽對於社區文化、地方社會、震災重建區,以及更多社區婦女們的關懷。

展望

成人教育及劇場的交相融合,通常以社會邊緣的弱勢者出發,讓他/她們得以發出聲音,而「石岡媽媽劇團」的劇場美學建立在性別/階級的雙重認知上,如何深化這方面的知識修養,並具體在進一步的工作實現出來,將是社區劇團重要反省的要項。 除了持續戲劇工作坊、的課程,建立更深厚的肢體、聲音等戲劇元素的再表達,找出女性的肢體、聲音、生命、生活等在藝術上戲劇上敘事內涵的可能性。並透過讀書會的的分享與討論,引發檢視個人內在的思考邏輯,情感經驗的激撞等,瞭解族群 / 性別 / 階級 / 歷史等中,女性所處的角色與位置,進而能走出個人經驗,自信的走入社群團體,建立更深一層的交流,更有自主能力提出眾所關心的社會社區議題,進一步促進社群團體的基進與再造。

英文簡介 : In mid-April 2000, the Cross-Border Culture Foundation from Taipei cooperated with the Errand Theatre, the Hiking Image Productions, and the Taiwan Popular Music Research to establish the Pied Piper Disaster Area Arts Task Force in Puli, Shuangqi tribe of Hoping Township, and Shihkang. The task force was stationed there for more than one month to conduct the photography, singing, and drama courses in a hope to teach people in the earthquake-stricken areas how to observe their own living environment through the camera lens, songs and drama, how to reflect and restart their life from the impact of earthquakes, and how to rebuild their own hometown. Under the guidance of the Cross-Border Culture Foundation, the Shihkang Mama Theatre was established in 2000, one year after the 911 earthquake. After receiving nearly three years of theatric workshop training, these Shihkang women, who are also mothers, wives, and fruit growers (or breakfast shop owners), prove through drama that they are not only tough but also full of maternal instincts. Their acting has also shown to the outsiders that there is a great opportunity for people in the earthquake-stricken areas to stand up and reconstruct their hometowns. Their acting always leads the audience to an alternative thinking about the aftermath of a disaster. Development The Shihkang Mama Theatre has been performing constantly in the past three years. They have always presented their shows in a “people-theater” way. They have represented the Shihkang Township to conduct dialogues with people of other communities, sharing their own growth experience and their female consciousness. They are cultural representatives of Shihkang community and through their touring performances, they prove they have not only walked out from the earthquake aftermath but have also reshaped their own female consciousness with new visions. Process To a certain extent, the Shihkang Mama Theatre is a specific case of how the community theatre can be combined with adult education. Watching those moms performing River in Our Hearts, we see that the Shihkang Mama Theatre has practiced and practiced very hard, trying to figure out how to present the show in an aesthetic way and raise up the texture of the show. They have paid so much attention to every single detail that they can perform the show in a lively and vivid way. That is also the reason why the stereotype that the community theatre is rough and lacks of aesthetics is eventually changed. The general public do not cast sympathy to the earthquake-stricken community theater group now but try to understand the connotation of what the Shihkang moms are conveying through their performances. To the Shihkang Mama Theatre, a play is not just a play but a journey of life. Shihkang moms always hope that through the drama they can continue to express their care for the community, its culture, and its reconstruction. Outlook
The integration of adult education with theatric performance can usually empower the marginalized and vulnerable groups by giving them a channel to voice out their inner feelings. The theatric aesthetics shown by the Shihkang Mama Theatre is built on the cognition of gender and class, key items that the community theater must reflect, cultivate, and deepen knowledge. It is suggested that the drama workshops and courses must be continued so that the moms can better master the dramatic elements through their expression of limbs and sound and voice. In addition, it is also urged to find the possibility to deepen the narrative connotations of a theatric art through the female body, voice, and life. Also recommended is the book club, in which knowledge sharing and discussion can trigger intrapersonal thinking logic and emotional experience. Through the understanding of the female role and position in terms of ethnics / gender / class / history, women may walk out of personal experience, walk into the community with self-confidence, establish deeper exchanges, explore the issues of public concern more independently, and further promote the establishment and reengineering of community groups.