「創作研究」主要分成兩個部分，第一部分將以「劇本創作」（playwriting）的角度切入，第二部分則以「後戲劇劇場」（postdramatic theatre）的角度切入，希望讓修課者能掌握基礎的「文本」創作方式。這些基礎的構劇能力，不僅僅侷限於編劇，而是以戲劇／劇場為媒介的創作者都需要具備的。期末時，每位修課者將發展出戲劇／後戲劇文本（至少8000字），並加以呈現發表。

"Creative Research" is mainly divided into two parts. The first part will be entered from the perspective of "playwriting", and the second part will be entered from the perspective of "postdramatic theatre", hoping that students can master the basic "text" creation methods. These basic structural capabilities are not only limited to scripts, but also creators who use drama/scene as media need to have them. At the end of the semester, each student will develop a play/post play text (at least 8000 words) and present it for publication.

透過概念講解、個案研究與工作坊的方式，使得修課學生認識各種表演藝術創作的方式，進行實際操作並呈現。

Through conceptual explanations, case studies and workshops, students can understand various ways of performing art creation, perform actual operations and present them.

巴代阿（Alexandra Badea）等著，周伶芝譯。《無愛時代的詩意告白：當代法國劇作選》。臺北：書林，2016年。
契訶夫（Anton Chekhov）著，陳兆麟譯。《三姐妹、櫻桃園：契訶夫戲劇精選》。臺北：聯經，2004年。
易卜生（Henrik Ibsen）著，呂健忠譯。《易卜生戲劇集IV》。臺北：書林，2013年。
伊歐涅斯柯（Eugène Ionesco）著，劉森堯譯。《伊歐涅斯柯戲劇精選集》。臺北：桂冠，2003年。
肯恩（Sarah Kane）著，胡開奇譯。《驚爆：莎拉・肯恩戲劇集》。台北縣：印刻，2009年。
品特（Harold Pinter）著，華明譯。《送菜升降機》。南京：譯林，2010年。
韋納維爾（Michel Vinaver）著，《九一一》。未出版譯稿。

Alexandra Badea waited, Zhou Lingzhi passed by. "Personal Confession of the Age of Loveless: Choice of Contemporary French Dramas". Taipei: Shulin, 2016.
By Anton Chekhov, translated by Chen Zhaolin. "Three Sisters, The Three Taoyuan: Selected by the Qifu Drama". Taipei: Union, 2004.
By Henrik Ibsen, Translated by Kan Jian. "Ibsen Drama Collection IV". Taipei: Shulin, 2013.
Written by Eugène Ionesco, translated by Liu Sen. "Ioniesko Drama Selection". Taipei: Laurel, 2003.
Written by Sarah Kane, Hu Kai Miracle. "Surprise: Sarah Kenn's Drama". Taipei County: Printing, 2009.
By Harold Pinter, translated by Huaming. "Dish delivery lifter". Nanjing: Lulin, 2010.
Written by Michel Vinaver, "September 11". Unpublished translation.