音樂劇常利用歌隊舞群襯托主角、推動劇情、娛樂觀眾，歌隊舞群製造出聽覺舆視覺的場 面感，聽覺場面感來自磅礴的合唱，而視覺場面感則來自歌隊舞群在視野之中的靜態或動態呈 現。本研究以實驗探討閱聽行為，以《悲慘世界》與《芝加哥》兩段歌隊舞群表演段落為刺激 材料，首次僅播放音樂，第二次呈現音樂與畫面，測量閱聽者的生理訊號，分析場面感如何影 響情緒。實驗結果顯示，聽覺及視覺的場面感經常可以加速閱聽者的心跳、造成膚電反應，而 視覺場面感則特別會引發閱聽者的深呼吸及微笑。實驗結果可由從眾（conformity)與奇觀 (spectacle)兩個概念來討論，筆者認為，閱聽者易被歌隊舞群引發亢奮情緒，似乎想要跟演員 一同行動，而視覺的奇觀則能形成更完整的美感經驗。本研究運用的情緒測量方法，為表演藝 術的「閱聽人研究」提供了嶄新的工具。

Ensemble song and dance routines are often employed in musicals to highlight the main characters, while also helping to fomard the plot line and entertain the audience. Often massive in their scales, these ensemble routines sei-ve as a striking visual and aural experience to the audience: grandiose choruses serve up the strong aural impression, while scenes—both still and in motion—concoct an immersive visual experience for the audience. This study employed experimental methods to investigate the act of perception, using two ensemble song and dance routines from Les Miserables and Chicago as stimuli. A total of 14 subjects were tested twice for their physiological measurements, first with only the music playing, and then with both music and video, to see how the perception of these scenes influence their emotions. The results show that auditory and visual perceptions often result in an accelerated heart rate in the perceiver, and produce a skin conductance response, while visual perceptions in particular trigger the perceiver to breathe deeply and smile. These results are discussed in terms of the concepts of conformity and spectacle; the emotional highs brought by these routines cause the perceiver to act as if s/he were ready to follow along with the ensemble, while the visual spectacle complements the entire aesthetic experience. The emotional assessment methods employed in our study serve to become a new set of tools for studying audience reactions to the performing arts.