Grotowski a influencé fortement, grâce au Théâtre U, les créations du Petit Théâtre taïwanais. Les recherches de Grotowski autour des techniques de la source, pour les artistes du Petit Théâtre taïwanais, revêt un caractère propre à leur culture populaire et les aident à s’identifier comme une communauté spécifique. Hérité du Théâtre U, le Théâtre Golden Bough ne s’exclut pas de la tendance à la recherche d’une nouvelle langue physique sur la base de techniques traditionnelles, mais progressivement, il s’est orienté vers un type de comédie musicale populaire. Le Théâtre Golden Bough met en scène de façon burlesque des stéréotypes de films et de séries télévisées du genre mélodrame. Le bricolage d’extraits de médias d’aujourd’hui avec des éléments d’hier construit une passerelle reliant les spectateurs contemporains à une « belle époque » empreinte de nostalgie des années 1960.Cette thèse décrypte la situation des Taïwanais souvent tiraillés entre des conflits identitaires. L’étude du Théâtre Golden Bough montre comment les artistes du théâtre ont représenté les différences culturelles, les tensions sociales, dans leurs mises en scène et le jeu des acteurs. Elle permet de mettre en exergue les logiques qui orientent l’évolution de la construction et l’affirmation d’une « identité taïwanaise ». / Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective.

近年來，創造力教育受到越來越多守門人的關注，包括企業界領袖、學者專家、政策制定者和教育工作者。另外在學術界和教育界，也有 越來越多的人接受「創造力是可以教」的觀念。因此，追求文化和社會適當的教育創新模式來實施創造力教育是非常重要的。 接觸藝術、學習藝術是培養創造力的重要途徑， 但在正式教育體制很難提供機會平等的平台時，相關的教育守門人就必須創造機會解決此一問題。Christensen、Horn與Johnson （2008、2011）也認為傳統的教育創新只是進行永續性的創新，所以他們進而提出破壞性創新的教育模式，以彌補傳統創新教育模式之不足。 本研究的目的是在探討兩個台灣表演藝術教育破壞性創新的個案：紙風車319鄉村兒童藝術工程和台北景文高中之優人神鼓表演藝術班。本研究的研究方法包括文獻分析，深度訪談和觀察。研究結果發現紙風車319鄉村兒童藝術工程的破壞性教育模式提供更多的機會讓偏遠的兒童可以接觸藝術，對他們產生正面的影響。優人神鼓表演藝術班的教育創新模式讓具有藝術興趣和才能的學生開啟創新的學習管道，一方面發展他們的藝術才情，另一方面也可以在正式教育中表現良好。 / In recent years, creativity in education has received increased attention from gatekeepers - the business leaders, scholars, policy-makers, and educators – around the world. There is also growing acceptance in the academic and educational worlds that “creativity can be taught.” Thus it is now crucial to pursue culturally and socially appropriate models for implementing creativity education. Encountering and studying the arts is an important approach to developing creativity. However, when traditional formal education systems are unable to provide an equal platform for encountering the arts, relevant gatekeepers must come up with new solutions. Christensen, Johnson, & Horn (2008; 2011) write that traditionally, educational innovation has relied on sustaining innovation, which they hold is insufficient for new educational demands today. They propose instead a model of disruptive innovation for education, which has greater potential impact on the education system, to help close the gap between educational ideals and practice. Leadbeater and Wong (2010) further categorize innovations in either formal or informal educational settings. This study examines two cases of disruptive innovation in performing arts education from Taiwan: Paper Windmill Theatre’s First Mile, Kid’s Smile 319 Townships Art Project program and the U-Theatre Performing Arts Class at Taipei Jingwen High School. The research methods employed include document analysis, in-depth interviews, and observations. The research findings conclude that the 319 Project's disruptive innovation model for informal education provided children in remote locations with opportunities to encounter the arts, making a positive impact on their lives. The disruptive innovation model for formal education used by the U-Theatre Performing Arts Class gave students with interests and potential in performing arts a channel for their abilities, both helping them develop their artistic interests and talents and enter university.