本片紀錄一位在青年歌仔戲演員－陳囿任（CHEN YU-JEN）對表演藝術的熱愛與堅持。陳囿任出生於台灣歌仔戲起源地－宜蘭縣員山鄉，並就讀於台灣唯一以正規教育培養歌仔戲人才之科系－國立台灣戲曲專科學校歌仔戲科（現國立台灣戲曲學院），目前為該學院歌仔戲學系一年級學生。 全片呈現陳囿任夢想成為全方位表演者的故事，並記錄其訓練的艱辛過程。同時，本片介紹其成長之家庭環境、學校生活，並兼及其生活與歌仔戲劇外的藝術演出。全片共長六十分鐘，以DVCAM規格拍攝完成。 本片隨附之創作報告解釋本片之創作背景、過程與心得；依照「創作」、「製作」、「映演」三個面向，詳細記錄本片創作之緣起、攝製過程，參酌之相關理論、導演省思、以及試演之意見與回應等。 / This documentary and director’s report present the enthusiasm on performing arts of a young actor, Chen Yu-Jen. Chen was born in Yuan Shan Village, Yi Lan County – the origin of Taiwanese opera, and who has been studying Taiwanese Opera in a traditional opera school for ten years. This documentary shows the dream of Chen to become a performer with omnibearing development, and the tough process of his training. It also tells the story of his family, school life and his performance activities other than the Taiwanese opera. The documentary is 60 minutes in length, and is recorded in DVCAM format. The director’s report demonstrates the production background of the documentary, records the details and process of the production and screening, and reveals the director’s interpretation and self-examination to the film.

本研究旨在了解桃園縣國中藝術與人文教師資訊素養與教學效能的關係，主要探討不同背景變項、環境變項之桃園縣國中藝術與人文教師，在資訊素養與教學效能的差異情形。 本研究之研究對象，乃以桃園縣國中藝術與人文教師為主，抽樣34 所公立國民中學189 位教師，調查結果以平均數、標準差、t 考驗、單因子變異數分析、薛菲事後多重比較法、皮爾遜積差相關、多元迴歸等統計方法，進行資料處理分析，獲致下列結論： 一、藝術與人文教學資訊素養與教學效能整體是屬於「中高」程度的表現。 二、藝術與人文教師教學資訊素養因教師背景變項不同而有顯著差異。 三、藝術與人文教師教學效能因教師背景變項不同而有顯著差異。 四、教師教學資訊素養及教學效能各層面具有高度正相關。 五、教師教學資訊素養愈高，其教學效能愈佳。 六、藝術與人文教師教學資訊素養對教學效能整體與各層面具有高度的解釋 力。 七、 教師教學資訊素養對教學效能整體及各層面具有主要的預測作用。 關鍵字:藝術與人文領域，資訊素養，教學效能。 / This research explored the relationship of information literacy and teaching effectiveness, and analyzed the differences of information literacy and teaching effectiveness among the field of Arts and Humanities teachers in junior high schools in Taoyuan by different background and environment factors. The samples of this study are 189 teachers of 34 junior high schools locating in the Taoyuan city. The results are analyzed by means, standard deviations,frequency, t-test, one-way ANOVA, pearson’sproduct-moment correlation, Scheffé method , multiple stepwise egression analysis. The results are as follows: 1. The Arts and Humanities teachers have above average scores on information literacy and on teaching effectiveness. 2 The Arts and Humanities teachers’ teaching- information literacy is noticeable differentiated by the varied cause of teacher individual variables. 3. The Arts and Humanities teachers’ teaching effectiveness is noticeable differentiated by the varied cause of teacher individual variables. 4.There are high positive correlation between the whole and every dimension ofteachers’ teaching- information literacy and the ones of teaching ffectiveness. 5.The higher the teacher’ teaching- information literacy, the better the teaching effectiveness. 6. The Arts and Humanities teachers’ teaching- information literacy has higher explanation of the whole and every dimension of teaching efectiveness. 7.The teacher’ teaching information literacy can make prediction of the whole teaching effectiveness. Keywords: the field of Arts and Humanities, information literacy, teaching effectiveness.

近年來國內電影映演呈現多元化發展，不只電影類型、內容日趨豐富，電影的映演方式也更趨多元。而擁有集結映演主題、少廳院、長映期、多功能搭配、選擇不設限、聯票預售等特性的「商業影展」更成為九十年代電影市場中極為盛行的電影行銷方式。 隨著電影觀眾的觀影口味多元使得電影分眾市場確立之故，讓許多不同類型的影片得到出現在市場上的機會，再加上多廳戲院取代了傳統大型戲院，除了因應電影分眾的潮流，還可以接受多一些電影放映。另外，為了能夠和大型電影發行商強大的行銷資源相抗衡，將許多部影片的行銷資源集合起來，再透過影展主題式集結的方式行銷，也成為現今非主流商業影片另謀映演空間的方法。上述種種電影市場的新現象就成為現在商業影展興起的契機。 在競爭愈來愈激烈的影展熱潮中，要如何建立有效的行銷策略將是未來經營影展所必須仔細思考的重要課題之一。因此，本研究旨在以行銷的觀點檢視商業影展的經營運作概況，以現在已存的「絕色影展」做為研究對象，整理、分析與討論其所擬定的行銷策略，並將之與消費者的商業影展消費行為調查結果相互比較，提出對商業影展發展行銷策略上的建議，期望對將來在推行商業影展擬訂行銷策略時能有所助益。 本研究探討的行銷策略包括了目標行銷策略以及行銷組合策略兩部分，得到的研究結論如下： 一、目標行銷策略： 商業影展的目標觀眾仍以愛好電影、常看電影的影痴為主，其中年輕的學生人口仍為主要的目標觀眾。 二、行銷組合策略： 1.產品策略：商業影展影片仍以藝術影片為多，建議在主題的選取上可 以朝向更專業化的設計，提供觀眾更具深度的觀影經驗。另外，配合影展提供相關議題的影評講座或座談活動將可以增加影展產品的附加價值。 2.價格策略：採較低價的定價策略並輔以有條件的價格修正措施將可以吸引更多的觀眾。 3.通路策略：觀眾已漸漸培養出購買預售票以及聯票的習慣，因此提供更為簡單便捷的售票系統，將會促進更多觀眾買票進場的意願。 4.推廣策略：商業影展性質有別於一般院線電影，其所採行的推廣策略並非得要用昂貴的大眾媒體做廣告，反而透過公關報導的形式將影展訊息曝光，再利用影評人作為「意見領袖」的方式影響觀眾，透過口碑的傳播，將影展推銷出去，可以得到更大的宣傳影響力量。另外，透過品牌的建立以及建立與維持和顧客長期的良好關係都是商業影展推廣策略中極重要的一環。 / The main theme of the study focus on the marketing strategy of the commercial film festival. The goals of the study include the following: 1. To know what and how the commercial film festival develop marketing strategy, then to evaluate the effect. 2. To find out the main factor that marketing strategy formulated. 3. To research the consumer behavior of the commercial film festival, and suggest the best marketing strategy of the commercial film festival from the consumer research information. In order to achieve the above goals, the study intends to integrate the qualitative and quantitative data. "Cast study" and "Consumer survey" are conducted. Choosing "Fanciful Film Festival" be the cast of the study, to find out how and what the fanciful film festival develop the marketing strategy, then analysis and discuss them. Simultaneously, using the research to get the quantitative data of commercial film festival consumer behavior. Contrasting both cast qualitative data and quantitative research of consumer survey, and get the marketing strategy suggestion. The results of the study are followed: 1. Target marketing strategy the target audience of commercial film festival is mainly enthusiast about film. Mostly they are the young college students. 2. Product strategy (1) Film category: art film is still the main film category of the commercial film festival. (2) Film subject: the more professional, profounder film subject is suggested. (3) Additional product strategy: it would advantage to use some additional product strategies, such as symposium, film review conference... 3. Price strategy: using the going-rate pricing and the conditioned discount. 4. Place strategy: (1) The consumer has trained the habit of buying the advance ticket and the suit ticket. (2) To supply the more convenient ticket system would encourage consumer. 5. Promotion strategy (1) The main promotional tools still are mass medium, especially the public relations. Using the public report to communicate and advertise the film festival, encourage audience consuming. (2) To pay much attention to the effect of the opinion leader. (3) To place importance on brand management and relationship marketing.

藝術和文化的交流能超越民族、國家和意識型態，使人與人相互理解，建構真正世界和平的基磐。京劇富含豐富的傳統中華文化，是中國流行最廣、最受歡迎的劇種。民國84年教育部合併原本隸屬於三軍的陸光、海光、大鵬京劇隊與豫劇隊，成立國家級劇團─國立國光劇團。該劇團目前以創新自許，企圖將原本屬於精緻文化的京劇普及化，並且為台灣樹立代表台灣風格的京劇表演。 為了使優質的現代化國劇成為台灣藝術文化的代表。當務之急乃是要為國光劇團的現代化國劇推廣，找出一套能夠符合消費者需求，又能行銷地域、行銷全球的表演藝術團體行銷策略。 為此，本研究針對年輕消費者進行「2005京劇滿意度」問卷調查，發出500份問卷，回收353份，有效問卷251份。經因素分析後，結果發現：「不願意欣賞京劇」的兩大因素為行銷相關問題和產品問題；「京劇欣賞滿意度」兩大因素為戲劇內力表現和戲劇外顯表現以及「影響觀眾欣賞京劇重要程度」三大因素為產品品質問題、卡司問題和非本願因素 本研究亦針對國光劇團之行銷架構，以深度訪談方式進行檢視。最後以雪狼湖作為表演藝術行銷成功範例之標竿與現代化京劇比較，得出之國光劇團行銷策略建議為：一、京劇表演教育啟蒙，開闢潛力市場。二、創新產品、大卡司，建立口碑。三、整合行銷傳播以達□效。 / Arts and cultures surpass races、countries and ideologies, communicate people and build the real foundation of world peace. Chinese Opera which contains rich Chinese culture is now the most popular opera in China. 1995, Ministry of Education combined three triphibious Chinese Opera groups into one national Chinese Opera Group—the National GuoGuang Chinese Opera Company. The company tries to set up a creative Taiwanese style for Chinese Opera and prevail these fine arts. To make the excellent Modern Chinese Opera become the behalf of Taiwanese culture, the marketing strategies for GuoGuang to meet consumers’need is urgent. The study surveyed 500 young consumers by questionaires of 「2005 Chinese Opera contentment survey」, 353 questionaires are recycled, 251 are effective. After Factor Analysis, the result shows that the marketing and product problems lead to the unwillingness to see Chinese Opera; Actors/Actresses inner presence and stage costumes are factors of Chinese Opera contentment; Product Qualities、Cases and outside control elements are factors of the Chinese Opera watching importances. The study interviewed GuoGuang Chinese Opera Company to examine their markeing structure. Besides, the study takes 「Snow Wolf Lake」 as a successful marketing example for benchmark and concludes suggestions for Guoguang: 1. Education of Chinese Opera scripts would be a way to cultivate potential markets; 2.Innovation products and big cases would help the company to build public praise. 3. Make good use of Integrated Marketing Communication to reach for advertisement synergy.

本研究主要目的在於了解藝術領域通識課程在高中與大學階段的銜接性狀況，以政治大學學生做為個案。採用質性研究的觀點，訪談修習過高中與大學階段之學生與此兩階段的開課教師，共計10名。訪談後將錄音資料轉為逐字稿，佐以文獻分析而獲得結論並提出建議。 　　根據研究結果，可發現無論是高中或是大學藝術領域之教師，在規畫課程上皆未考量銜接性因素，主要原因是難以掌握上一階段的學生學習狀況以及本於有教無類的思維。面對未考量銜接性的課程，教師改採取調整課程設計的方式以符合不同學習背景的學生所需。除此之外，教師也會採用多元課程內容與評量方式，活化課程並增進學生對於課程學習的興趣。大學校方也能提供適合藝術學習的場域，引導學生於生活環境中進行藝術學習。 　　學生若本身具備藝術學習的熱誠，則自然能於高中與大學階段持續修習藝術課程，並且主動於課餘時間攝取藝術知能，延續藝術學習。雖然此兩階段的藝術課程並未考量銜接性，然學生能經過學習後明確感受課程深度的差異，符合課程銜接性中順序性的考量。因此授課教師若能於課程進行前針對學生先備知識的詢問，了解學生學習背景，將更有助於藝術課程的銜接性。 / The purpose of this study was to understand the curriculum articulation status of general education on art subjects in National Chengchi University. The method of qualitative research was to interview college students and the teachers of the affiliated high school and university. The 10 members involved in the process were interviewed in depth. The interviews were recorded, transcribed, and then combined with document analyses. Finally, the conclusions and recommendations were drawn. According to the findings, teachers of the arts in either high schools or university do not consider the curriculum articulation in the course of lesson planning. The reason is mainly that it is difficult for teachers to grasp the students’ previous learning status and that teachers believe in the philosophy of teaching all comers without discrimination. Facing the curriculum without considering the articulation, the teachers adjust the course design so as to meet the students’ different learning backgrounds. In addition, teachers adopt diverse course contents and assessments, which helps activate the curriculum and enhance students' interest in learning. The university authority can also provide a proper field for learning arts, guiding students to learn arts in the school environment. Students who are enthusiastic about arts learning can naturally continue arts courses both in high school and in college and actively intake arts knowledge in their spare time, expanding arts learning. Although these arts courses during the two stages do not consider the articulation, students can still feel the differences in curriculum depth clearly, in line with the considerations of articulation in order. Therefore, if the teachers can know students' prior knowledge before class and understand the students’ learning backgrounds, it will further contribute to the articulation of the arts curriculum.

近年來，國內有越來越多藝文活動、表演組織出現，參與人數也漸漸成長，藝文活動對於國民的重要性提升。然而在表演藝術市場中，表演藝術團體必須面對的除了國內外表演團體作品增加，市場競爭激烈之外，表演藝術觀眾的消費常會受到社會、經濟因素等影響，使表演藝術團體收入無法穩定成長。因此，培養表演藝術觀眾，並提升觀眾對於表演藝術團體的喜好與忠誠度，讓觀眾願意持續觀賞表演，進而成為表演藝術團體的擁護者，對於表演組織而言為一重要課題。 　　本研究旨在了解表演藝術組織的觀眾如何從非觀眾成為忠實觀眾的過程，並以成立時間長、累積觀眾數多且與觀眾有密切互動關係的「屏風表演班」做為研究個案，藉由深入訪談，以了解觀眾在成為忠實觀眾過程中的內外在影響因素、心理狀態與行為。 　　本研究發現，觀眾的初次觀賞理由主要是透過不同管道認識表演團體、對於表演團體產生興趣，再加上口碑宣傳，增加對於表演的信任，提升購票意願。初次觀賞時，如果能將表演與自身經驗連結，從中獲得共鳴與感動，會讓觀眾留下深刻的印象。此外，能夠加上愉快地整體觀賞體驗與表演團體主動提供下一次的節目資訊與優惠，會提升觀眾持續觀賞的意願。觀眾在受到表演藝術團體的獨特之處、表演內外與觀眾生活的連結，與好的服務品質所吸引，在累積多次滿意的觀賞經驗後，對於表演品質信賴，成為忠實觀眾；而觀眾加入表演團體的會員與志工後，對於團體會有更高的忠誠度。培養忠實觀眾不僅能維持既有觀眾，還能透過口碑吸引新的觀眾。本研究透過了解成為忠實觀眾的歷程，以提供表演藝術組織培養忠實觀眾做為參考。 / Recently, there are more and more performing activities and organizations, and there are also a growing number of people willing to participate in these activities. The importance of performance activities to people is increasing; however, in performing arts market, the organizations have to face not only the competitive market, but also the unstable income because performing arts consumption is frequently affected by social, economic or other determinants. Therefore, audience development, increasing preferences for performing arts and enhancing loyalty which makes audiences keep watching the performances have become crucial for performing arts organizations. The purpose of this research is to understand the process from non-audience to loyal performing arts organization audience. This research uses The Ping-Fong Acting Troupe as a case, which was founded in 1980s and had established close relationship with its audiences. Through in-depth interviews, this research examines the internal and external factors to become the loyal audiences. The research finds out that, the audiences notice the performing arts organization by different ways in the beginning. Next, they become interested and trust in the organization due to word of mouth. They decide to buy the performance tickets for the first try. During the performance, when they feel connected to the performance, they would be touched and impressed deeply. Furthermore, if the audience have nice overall watching experiences, and the organization offer the discount for the next show initiatively, the audience will be more likely to keep watching the performance played by the organization. In this stage, the audiences are attracted to the unique merits of the organization, the connection between the show and their experience, and high service quality. After they have several satisfying watching experiences, they become having confidence in the performance quality, and become loyal audiences. After the audience join the membership system and become the volunteer of the organization, they will be more loyal to the organization. Developing loyal audience not only maintain the audience, but also appeal to new audiences by word of mouth. To sum up, the research focus on realizing the process of becoming the loyal audience and it is expected to contribute to both practice and theory in arts management.

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本文以藝術社會學觀點出發，將台灣「新電影」視為一藝術「群體」行動所建構之現象，並分析「新電影」之論述形構過程。 本文認為「新電影」與60年代後逐漸傳入台灣的西方「藝術」電影典範，以及「作者電影」影評之系譜間，有若干思想及美學觀方面之傳承關係，其次回溯「新電影」現象初期，支持者如何藉由電影論述與策略運用，在與各種敵對勢力之批判論爭中，建構出一套「新電影」論述，以求存續發展。 本文並分析「新電影」群體與三種「電影評鑑」機制之間的關係，這包括了「新電影」勢力難以掌握的《金馬獎》、由其主導之《中時晚報電影獎》系譜、以及「新電影」派不斷嘗試接軌的國際「藝術」電影鑑賞機制。分析結果，本文認為「新電影」派由於無法掌握《金馬獎》，便逐漸與其疏離，《中晚電影獎》此一系譜之評鑑機制則並未成功替代《金馬獎》，而「新電影」之藝術正當性來源，則是藉由國際影展策略而達成。 「新電影」派之國際影展策略，在90年代與國家機器之外交宣傳目的逐漸契合，政府態度便由80年代的消極轉為積極地藉由「輔導金」、「電影年」、及鼓勵國際影展路線等方式，來收編「新電影」勢力。「新電影」派亦藉「國際路線」漸受官方重視的脈絡，在論述及實踐上逐漸將「新電影」建構為「台灣」電影唯一存在之國際代表（representation），藉由與官方之需求達成某種程度之契合，「新電影」得到80年代以來從未有過之藝術正當性。 然而此一策略，在國家機器缺乏對電影發行及映演部門之干預下，使「新電影」逐漸在市場與美學評鑑兩個層次上，與台灣本土之脈絡產生疏離，於此同時，則是若干導演已獲得電影「作者」之地位，具有吸引國際投資之能力，但卻難以與台灣電影工業產生良性聯繫，且有淪為跨國資本「研發」單位的可能。本文在分析過「新電影」派於不同時期之各種論述策略後，最後認為除了形成一股集體力量，對台灣電影工業進行政策面之思考與改造外，「新電影派」目前之論述策略，皆不足以改變目前台灣電影業之困境。

近年來，創造力教育受到越來越多守門人的關注，包括企業界領袖、學者專家、政策制定者和教育工作者。另外在學術界和教育界，也有 越來越多的人接受「創造力是可以教」的觀念。因此，追求文化和社會適當的教育創新模式來實施創造力教育是非常重要的。 接觸藝術、學習藝術是培養創造力的重要途徑， 但在正式教育體制很難提供機會平等的平台時，相關的教育守門人就必須創造機會解決此一問題。Christensen、Horn與Johnson （2008、2011）也認為傳統的教育創新只是進行永續性的創新，所以他們進而提出破壞性創新的教育模式，以彌補傳統創新教育模式之不足。 本研究的目的是在探討兩個台灣表演藝術教育破壞性創新的個案：紙風車319鄉村兒童藝術工程和台北景文高中之優人神鼓表演藝術班。本研究的研究方法包括文獻分析，深度訪談和觀察。研究結果發現紙風車319鄉村兒童藝術工程的破壞性教育模式提供更多的機會讓偏遠的兒童可以接觸藝術，對他們產生正面的影響。優人神鼓表演藝術班的教育創新模式讓具有藝術興趣和才能的學生開啟創新的學習管道，一方面發展他們的藝術才情，另一方面也可以在正式教育中表現良好。 / In recent years, creativity in education has received increased attention from gatekeepers - the business leaders, scholars, policy-makers, and educators – around the world. There is also growing acceptance in the academic and educational worlds that “creativity can be taught.” Thus it is now crucial to pursue culturally and socially appropriate models for implementing creativity education. Encountering and studying the arts is an important approach to developing creativity. However, when traditional formal education systems are unable to provide an equal platform for encountering the arts, relevant gatekeepers must come up with new solutions. Christensen, Johnson, & Horn (2008; 2011) write that traditionally, educational innovation has relied on sustaining innovation, which they hold is insufficient for new educational demands today. They propose instead a model of disruptive innovation for education, which has greater potential impact on the education system, to help close the gap between educational ideals and practice. Leadbeater and Wong (2010) further categorize innovations in either formal or informal educational settings. This study examines two cases of disruptive innovation in performing arts education from Taiwan: Paper Windmill Theatre’s First Mile, Kid’s Smile 319 Townships Art Project program and the U-Theatre Performing Arts Class at Taipei Jingwen High School. The research methods employed include document analysis, in-depth interviews, and observations. The research findings conclude that the 319 Project's disruptive innovation model for informal education provided children in remote locations with opportunities to encounter the arts, making a positive impact on their lives. The disruptive innovation model for formal education used by the U-Theatre Performing Arts Class gave students with interests and potential in performing arts a channel for their abilities, both helping them develop their artistic interests and talents and enter university.

本論文共分五個章節： 第一章緒論：簡略介紹國內之表演藝術活動發展情形及本文研究動機與研究假設等。 第二章理論及文獻探討：從非營利事業行銷的概念談到顧客行為的研究，再論及有關 生活型態與價值觀的文獻，最後將這四部份做一個整合。 第三章研究方法：問卷設計過程→抽樣方法→抽樣結果→選擇測量工具→決定分析方 法這五部份做描述的工作。 第四章研究結果：首先是因素分析所得出的結果，再就是對於第一章所假設的檢定， 驗證這些假設是否正確，最後則對於目前的觀賞者做描述，以瞭解這些人基本的特性 。 第五章結論與建議：將所得出的結果做一整理，並且提供有關單位之參考意見。