本文旨在說明《電梯的鑰匙》導演創作之過程，以文本分析的方式，探究劇作家欲表達的思想。導演構思方面則用理論作為創作支撐，分別以瑞士心理學家卡爾･古斯塔夫･榮格的原型心理學，用集體潛意識的方法作為角色性格塑造，服裝則是採用潘諾夫斯基圖像學原理，以古典畫作、建築作為設計藍本。音樂與燈光分別以華格納與阿庇亞這兩位象徵主義時代大師的理論作為依據，運用這兩種元素將角色的情緒外現化，藉此強化演員的表演。而舞台美景的設計採用象徵式舞台的設計要點，以「鳥籠」為意象建構，最後導演將各舞台元素作統一歸納，尋求藝術的統一性。並以觀眾的問卷調查，統計出預期成效及非預期成效，藉以檢討演出缺失及作為學術作品導演之借鑑。
This thesis indicates the process of creation of the director about “La Clé de l'ascenseur”. To inquire the thought what playwright wants to express it by the method of text analysis. And the directorial concept is based on some theories. The method of the collective unconscious, which Swiss psychiatrist Carl Gustav Jung proposed Archetypal Psychology, supported character creation. On the basis of Erwin Panofsky 's Iconology, the costume design is inspired by classical paintings and architecture. Sound and Lighting reinforce movement and initiated action of character and also strengthen performance of actor/actress. These two elements are individually based on the theories of Wilhelm Richard Wagner and Adolpe Appia. Both of them are masters in the era of symbolism. The design of stage and scene adopted the design point was symbolic stage which was built by the image of “birdcage”. At last, director unified and inducted all of the stage elements to seek the unity of the arts. By the statistic of audience survey that stuck out expected utility and non-expected utility, was in order to review the lack of performance and as a reference to the academic director.
