國立臺北藝術大學（前身為國立藝術學院）戲劇學系不僅是在戲劇教學上，致力於專業技術的培訓，更以開創當代臺灣劇場的新局為目標。戲劇創意典藏的三位創作者：賴聲川、汪其楣、姚一葦，他們在校園內學期製作的作品，一方面讓學生在教育劇場的環境中，有所學習和成長；另一方面在戲劇形式、風格的創新上，和外界臺灣劇場的脈動接軌。無論是賴聲川的《我們都是這樣長大的》 (1984)、《過客》 (1984)、《變奏巴哈》 (1985)、《田園生活》 (1986)所引領的「集體即興創作」方法，風靡 1980年代整個臺灣劇場，影響至今仍未遞減，並於世紀之交創作出《如夢之夢》 (2000)史詩般的作品，為個人創作生涯做一個總和，再創嶄新的劇場形式；汪其楣的《人間孤兒》(1987)、《大地之子》(1989)表現出對臺灣斯土斯民的關懷與愛護，激發觀眾對居住所在的希望，《山海傳說．環》(1994)、《記得香港》(1997)更將視野觸及到原住民的神話、香港百年殖民歷史、與香港面對九七大限的議題，是臺灣劇場界少見長闊的歷史書寫；姚一葦的劇本創作，經師生製作演出的《碾玉觀音》 (1985)、《申生》(1991)，取材自宋人的小說與史書，卻能在傳統與現代之間取得巧妙的平衡，注入時代的新觀點，《重新開始》(1995)、《一口箱子》(2007)藉由隱喻與象徵，一步步揭露內在對於人的定位的省思。典藏他們的作品不單僅僅為過往的演出歷史留下紀錄，實乃為臺灣現代劇場發展的軌跡，寶藏住彌足珍貴的共同記憶。

Department of Theatre Arts in Taipei National University of the Arts (formerly known as the National Institute of the Arts) not only diligently works to cultivate a professional skill level in the field of theatre education, but it also works toward a goal of establishing a new, higher level of contemporary Taiwanese theatre. In regards to on-campus theatre pieces, the three originators of the digital collection, Stan Lai, Chi-Mei Wang, and Yi-Wei Yao focused on two aspects. The first aspect was to provide an environment of theatrical learning and development, the other aspect was to provide a theatrical form and style by connecting students to the pulse of Taiwanese theatre across the island. The “collective improvisation” method used by Stan Lai to develop such works as We All Grew Up this Way (1984), The Passer by (1984), Bach Variations (1985) and Pastorale (1986) became extremely popular in 1980’s Taiwan theatre and remains very influential in Taiwanese theatre to this day. At the turn of the 21st century he wrote his epic work A Dream Like a Dream (2000) to create a summary of his life’s work thus far and in the process created a new style of theatre. Chi-Mei Wang’s The Orphan of the World (1987) and Children of the Good Earth (1989) stirred their audiences’ hope for their homeland through their explorations on the theme of caring for Taiwan’s land and peoples. The length and breadth of historical writing seen in her Tales of the Mountains and the Seas (1994) and Remember Hong Kong (1997), two plays that strive to bring more focus to Taiwanese aboriginal mythology and the 100-year colonization and return of Hong Kong in 1997 respectively, is rarely encountered in the Taiwanese theatre world. Even though Yi-Wei Yao used collected historical materials from Sung’s fictions and history books in his plays The Emerald Bodhisattvas (1985) and The Crown Prince Shen-Sheng (1991), he was able to create a clever balance between the traditional and contemporary. And in his pieces Let's Start Again (1995) and Suitcase (2007), he was able to expose a new reflection on people’s inner-orientation through his methodical use of metaphor and symbolism. This collection of their works is not just an attempt at recording the history of their performance pieces throughout their careers. It is also an endeavor to trace the development of contemporary theatre in Taiwan so that the precious memories and knowledge contained within these works can be expressed into Taiwan’s future.