本研究旨在了解心理劇中導演處理主角抗拒的經驗歷程，以及導演在面對主角的抗拒的置身結構。本研究蒐集三齣具有抗拒現象的心理劇影片，將其謄寫為逐字稿，運用詮釋現象學的取向，透過李維倫與賴憶嫻 (2009) 提出的現象學分析步驟進行資料分析。研究者發現導演處理主角抗拒的內在普遍結構有十一個部分，與五個特殊結構。本研究發現導演面對主角抗拒時，導演以感官知覺看見、感受與理解主角抗拒背後的意涵，透過開放不框架的心態，以及多嘗試、懸置、幫助與接受的治療態度，並且導演內在的核心信念是現象學的延伸。而主角的抗拒較多為與自身認知感受隔離以及抗拒行動演出，導演透過鏡觀與聆聽輔角重述的技巧來協助主角走過抗拒。
The purpose of this study is to understand the experience of the director in psychodrama dealing with the resistance of the protagonist , and the director’s situated structure in the face of the protagonist’s resistance. However, this study collected three psychodramas with resistance phenomena whereby it is written as a verbatim. To adopt an approach to the orientation of interpreting phenomenology by conducting the procedure of Phenomenological Analysis which is submitted by Dr. Wei-Lun Lee and Dr. YI-Hsien Lai in 2009. Researchers have found that the director deals with the resistance of the protagonist includes 11 parts of internal general structure, and 5 special structures. This research shows that the director deals with the resistance of the protagonist by a clear and deep understanding of the meaning. Not only did the director make an attempt to suspend, help and accept the protagonist, but also the director is quite open-minded. In addition, the director’s inner core belief is an extension of phenomenology. The resistance of the protagonist is relate to the performance of isolation from his own cognitive feelings, and the resistance to action. However, the director helps the protagonist go through the resistance by the mirror theory and listening to the retelling of an auxiliary.
