隨著時代的演變，國內服務業人口比例不斷攀升，因此企業內無形的知識已逐漸取代土地、機器、設備等有形資產成為現代組織建立核心競爭力的重要元素。而隱藏在企業內無形的知識主要可分為人力、結構和社會三項資本，將這三種知識整合在一起就形成了所謂的智慧資本。 有鑑於組織型態的轉變，因此許多專家學者們皆致力於組織無形資本建構之研究，認為企業無形資本的建立最終會導致組織有形財務資產的成長，而檢視過去的文獻資料可以發現無形資產的建構研究主要鎖定一般企業，然而針對表演藝術組織，目前仍無任何以智慧資本的應用研究產生，因此本研究以智慧資本為架構，探討表演藝術團體如何在組織發展的歷程中建構自身之智慧資本，並進一步探討各智慧資本構面之間彼此的影響為何，以釐清智慧資本對於組織發展的重要性與關鍵性。 從個案的研究結果顯示，表演藝術組織無形智慧資本的建立確實對於組織發展有相當大助益，甚至能夠協助組織度過困境，同時也發現組織在創立初期主要以發展人力資本為主，而隨著時間經過組織規模開始成長之後，結構資本與社會資本的重要性逐漸上升，尤其是在結構資本方面，由於它主要代表的是組織架構與運作方式，因此當組織發展到中後期時，結構資本成為組織智慧資本成長的主要動力，透過結構資本自身的建立進而影響到人力與社會資本，而互動過程中也呈現正向的循環，使得組織智慧資本不斷累積與成長。 本研究藉由深入探討『屏風表演班』智慧資本的建構過程，進而提供其他表演藝術團體未來建構組織無形智慧資本之經營參考與方法。

1952年出生的王海玲，是台灣豫劇第二代演員中的佼佼者，以優異的天賦與數十年勤奮專注的辛勤耕耘，成就了深厚而全面的藝術功力，她出色的表演藝術成就是位於文化邊陲的豫劇藝術始終能夠「被看見」的主要因素，而台灣豫劇的風格其實就是王海玲的風格。 王海玲工旦行，嗓音寬亮圓潤，唱腔感情豐沛、吐字堅實，在規範性中運腔自如，形成流暢奔放、剛柔相濟的演唱風格；身段武功規矩紮實，肢體動作敏捷靈活、韻律和諧，是真正文武不擋的全才演員。在表演上，王海玲有絕佳的戲感與舞台魅力，她堅持「不為表演而表演，要以角色為出發點」，最注重人物性格的塑造與感情的表達，她表達情感的方式並不是通過太多的舞台技巧，而是將自己的生命完全投入其中，進而享受角色、使角色與生活合而為一。王海玲喜歡嘗試各式各樣的人物與表演方式，有千變萬化的無限的可能，她在曾經演出的一百多齣劇目中，扮演過生旦淨丑各行當的角色，戲路寬廣，舞台經驗非常豐富。 在幾乎無處可學的環境下學習成長，王海玲的舞台表現手法有很大份出於她自己的體會和領悟，她能模仿能創新、能編腔能導演，在她身上看不到創作上受約束的痕跡。每推出一台新戲，從無到有樣樣都能自己來，四十年的自主創作，使得王海玲與當代其他演員相較，更能在舞台上找到自己、唱出自己；她的戲沒有實驗創新的理論與包裝，然而在塑造人物、表達感情時，她獨出機柱的安排設計，往往能不經意的完成戲曲創新的實質價值。王海玲的表演散發著難以描摹的天然神韻，純樸、生動、自然、蘊含著豐沛的情感，特別擁有親和力和生命力，使豫劇在台灣的戲曲環境中，於京劇的嚴整與歌仔戲的草根之間開闢了一條中道，規範洗鍊中洋溢著民間性格，受到無數觀眾的喜愛。

在台灣，表演藝術活動蓬勃發展的今日，大大小小的各類表演藝術團體此起彼落，有的僅曇花一現成為一劇劇團、一舞舞團，也有的以堅毅卓絕的精神持續奮戰十幾二十年。然而，表演團體雖多，但大部份團體成立的目地都是要方便完全主導自己的創作，因此每一個創作者都是該團的藝術總監，這也是坊間一般的經營模式。 成軍二十年的『舞蹈空間舞蹈團』，為一個擁有專職舞者、專屬排練場以及專業行政的職業舞團，但其創辦人平珩卻未曾發表過創作，舞團演出舞碼均為駐團編舞家的作品。獨特的「創新經營模式」包括承接「代工業務」、「共同設計開發製造」等鴻海專有的經營模式，並夾以「雙品牌」行銷策略，為台灣現代舞團，甚至是整個表演藝術界獨樹一幟。 　　本研究主要探討「創新經營」運用在表演藝術上的作為有何？以及『舞蹈空間舞團』進行創新的挑戰、作為與經營管理的成效分析，故選擇質化分析法中之單一個案研究。 研究結果顯示，『舞蹈空間舞團』在「營運」範疇中「產品市場」、「核心資源」與「事業網路」三構面的發展，的確符合「創新」的四個座標：1.產品的差異化，2.有新的觀眾群體，3.新的價值空間，4.地理疆界的向外移動。並由創新概念中延伸出的新的營運模式，加上該舞團領導者對藝術高包容力的組織文化帶動，讓『舞蹈空間』成為表演藝術界的「異數」，一個致力於與不同編舞家合作的舞蹈品牌。 其次依對經營面向進行成效分析時，則發現『舞蹈空間舞團』創新經營的模式，所創造出來的公共價值超過舞團私人價值，但創新經營方式卻也在某種程度上妨礙『舞蹈空間』這個品牌的發展。 　　最後，本研究依據『舞蹈空間舞團』的創新經營模式，針對深植專業技能、擴大製作團隊的規模經濟、以及強化品牌形象等三方面，提出一套具體改進的建議。 / In recent years, the growth of performing arts in Taiwan is evident. Many performing groups, both big and small were quickly formed. While most groups did not last beyond one show, some have continued to survive, albeit barely, for more than 20 years. A distinguishing feature of the majority of performing groups was that they were formed to retain full control over artists' creative expression. Thus, the founding artists of all performing groups are also the chief art directors, and it was common that artists took on multiple roles in the group. The performance of Dance Forum Taipei was professionally created by the chief choreographers, but was never by the founder Ms. Ping Heng in the past 20 years. In essence, Dance Forum Taipei presented an innovative business management model that includes "original equipment manufacturing", "co-designing, developing and manufacturing" etc. which the leading Taiwanese electronics company Foxconn is specialized in. Furthermore, The adoption of "double identification" strategy has uniquely opted to maintain a clear demarcation of management in the field of performing arts. The present study is aimed at examining the implementation and implications of "innovation" in management of performing art groups. Using qualitative analysis via single subject case study, we will critically analyze the challenges, management strategies and outcomes of the "innovation" by Dance Forum Taipei in managing performing groups. The present study concluded that in the three domains of operations: Product/Market, Core resource, and Business network, Dance Forum Taipei meets the requirements of being labeled as "innovative." Specifically, Dance Forum Taipei demonstrated four major strengths - product differentiation, attracting new audience, providing new core values, and extension of geographical territories. The new business model extended from the innovative ideas have made Dance Forum Taipei a unique role in the field, the brand that symbolizes artistic collaborations among multiple choreographers. However, when we analyzed Dance Forum Taipei for its management effectiveness, the result indicated that the public value was more profound than its own value. In essence, the innovative business management model has stopped Dance Forum Taipei from further development. Finally, based on the innovative business management model by Dance Forum Taipei, the present study proposes a solution for rooting the professional skills, expanding the economy of production scale, and strengthening the business identity.

我國文建會於2003年始視文化創意產業為重點發展方向，其中表演藝術產業（原名音樂與表演藝術產業）為《 文化創意產業發展法》中指稱的文化創意產業之一。但在此之前，我國早已經有許多蓬勃發展的表演藝術組織。已發展成全球規模的太陽劇團於2008年首次登台演出，大幅度提昇國人對太陽劇團的熟悉度。自此，不少國內碩博士論文從不同角度研究太陽劇團的成功，報章媒體也以大幅版面報導劇團來台，及其成功營運至全球規模的生意經。國內有許多發展已具備規模的表演藝術組織，這些組織與太陽劇團究竟有何差異是本研究要探討的議題之一。另外探討如果我國表演藝術組織希望擴大經營規模，太陽劇團作為一個全球性規模的表演藝術組織，其經營模式又有哪些是值得我國學習。 在這樣的背景下，期待透過本研究，研究表演藝術組織如何發展其經營模式，並描述分析太陽劇團及國內多個表演藝術組織其經營模式有何異同；同時探討表演藝術組織如何擴大經營規模，而國內表演藝術組織可持續努力學習的方向為何。 本研究以Staehler（2002）提出的經營模式為主要分析架構，依據四個構面—價值主張、產品/服務、價值結構及收益模式—來分析表演藝術組織。選定的個案包括一個國外營利表演藝術組織太陽劇團，以及三個台灣非營利表演藝術組織屏風表演班、紙風車劇團及相聲瓦舍。透過初級資料及二手資料蒐集後，研究整理成個案，並進一步分析討論。 表演藝術組織的構面之間會互相影響，是一個動態連結的關係。同為非營利組織的經營模式有其相異的地方，其收益來源與內部價值創造流程有所差異；不同組織型態的表演藝術組織也有共通點，同樣都會打造A型團隊、善待並留住人才、強調創意、塑造內部和諧氣氛及建立知識管理等。 另外，表演藝術組織如果想要擴大規模，可以透過建立A型團隊，與外部合作開發節目、鼓勵所有人共同創作、累積管理人才及完善知識管理的方式提昇組織規模化的能力。與顧客建立緊密連結、和外部價值夥伴建立長期良好的合作關係可共同擴大市場及影響範疇。 本研究是將整個組織做為一個分析單位，在有限的時間與資源下進行研究分析。期待本研究對於學界、實務界或政府政策都有所貢獻，成為台灣未來持續發展表演藝術產業的參考依據。 / The Council for Cultural Affairs (CCA) believes that the creative industry will become continuously important to economic well-being. The creative industry comprises thirty categories, one of this is performing arts. One of the most famous performance organizations is Cirque du Soleil, which makes significant amount of profit yearly on a global scale. This Research wants to analyze the difference between the Cirque du Soleil and Taiwan’s performance organization. There are three main purposes of this research. Firstly, the research will analyze each performance organization’s business model, including Cirque du Soleil, Ping-Fong Acting Troupe, Paperwindmill Theatre and Comedians Workshop. Secondly, the research looks into every aspect will have effect with each other, which is a dynamic connection. As nonprofit organizations, Ping-Fong Acting Troupe, Paperwindmill Theatre and Comedians Workshop organize “A type team”, create internal innovative atmosphere, and build mechanism of knowledge management, just like the profit organization. Finally, they also can expand the scale from several ways, like developing new program with external partner, retaining managers, building compact knowledge management mechanism and keeping good relationship with external partner and customers.

二○○三年百老匯音樂劇CATS來台演出，造成一股不小的風潮，包括媒體效應、周邊商品的大量熱賣以及觀眾的人次等等都造成不小的話題，且，民國九十三年外國人來台演出的活動個數為878個，相較於民國八十三年的461個，十一年來亦成長了90%，可見國內仲介外國團體來台演出的表演藝術經紀公司，在這十一年來也是蓬勃發展。但是由於藝術推廣公司手邊的節目長年不斷，而國內表演團體畢竟相當有限，加上藝術推廣公司都進口了不少國外節目，這不免影響了國內表演團體的演出機會，有專家擔心國內表演團體難以匹敵國外節目。 因此本研究從國內藝文環境著手，探討表演藝術經紀公司對於國內表演藝術環境的影響，根據觀眾的成長，演出內容對國內團隊的影響，行銷模式的改變，幾個角度切入，深度探討表演藝術經紀公司的過去與未來，希望從研究中找出對於國內藝文環境的影響因素，並對表演藝術進入文化創意產業找到方法，進而使國內藝文環境獲得良好的發展條件。 為了了解國外節目對國內藝文生態的影響，本研究分別以內容分析法與深度訪談法分別進行量化與質化的分析，量化的部份以國內直轄市經常演出的六個表演場地90-94年的演出紀錄進行資料蒐集整理分析。包括台北國家戲劇院、國家音樂廳、國父紀念館、城市舞台、新舞台，以及高雄的至德堂。質化的部份以國內知名的專家學者以及重要藝術經紀公司負責人進行深度訪談，藉由專家的經驗檢驗表演藝術經紀公司對國內藝文環境的影響。 近五年來，國外節目場次最多的是音樂類節目，其次是舞蹈類，現代戲劇類每檔節目演出的場次最多，其次是傳統戲劇類；演出場地部份國父紀念館演出國外節目的比例最高，其次是國家戲劇院；表演場地自辦國外演出比例最高的是國家音樂廳，其次是新舞台；演出場次最多的是93年在城市舞台演出的「貓」劇共演出30場，演出座位數最多的是93年在國父紀念館演出的「真善美」座位數共有55,308個座位。 未來希望表演藝術經紀公司除了引進國外節目外也可以將國內團體推廣出去，而希望政府在法令政策上對於國內團體與國外團體能有一些區隔，也期許表演場地在管理上能更有效率，在政府、表演場地、民間經紀公司與國內表演團體的共同努力下，為台灣的表演藝術開創美好的未來。 關鍵字：表演藝術、表演藝術經紀、表演藝術仲介、兩廳院 / In 2003 the famous Broadway musical “CATS” came to Taiwan, generating high ticket sales and product merchandizing, gaining major media coverage and creating considerable discussion. In fact, a total of 878 international performances were staged in Taiwan in 2004; a 90 percent increase of the 461 foreign performances of 1994. This helped create a major growth industry in local Entertainment/Performance Booking Agencies specializing in the importing of international entertainment act into Taiwan. In fact, experts are concerned that the large number of overseas performances Agencies/Promoters have available to import into Taiwan is considerably higher than what can be produced locally. This could result in the local market being overwhelmed by international performances, greatly hurting the long-term competitiveness of Taiwan’s Cultural and Arts industry. 　　This research looks at Taiwanese Performance Arts Industry and the impact of Agencies/Promoters on Taiwan’s Culture and Arts environment. Methodology used is an evaluation of the Taiwan market, the impact of the content of foreign performances on Taiwanese groups and the ensuring changes to local promotional techniques. This paper will also look in detail at the past and future of Agencies/Promoters specializing on introducimg foreign cultural and arts entities and performances. It is the objective of this report to identify the impact of these entities on Taiwan’s Culture and Arts industry and propose a roadmap for the successful development Taiwan’s local Culture and Arts industry and its eventual development into a Creative Cultural Industry. 　　Method used for this research project is content analysis coupled with interviews to obtain qualitative and quantitative analysis. 　　Quantitative analysis consists of records collection and analysis of Taipei and Kaohsiung’s six major performance venues for 2001-2005. These six venues are: National Theater、National Concert Hall、National Dr. Sun Yat-sen Memorial Hall、Taipei City Stage、Novel Hall and Kaohsiung’s Chih-Teh Hall. 　　Qualitative analysis consists of interviews with Taiwanese scholars and key executives of Entertainment/Performance Booking Agencies. Through this methodology the author hopes to clarify the impact of Promotors on Taiwan’s Artistic environment. 　　Over the past five years, the most common foreign programs have been musicals followed by modern dance . The greatest number of performance have been staged by contemporary theater followed by traditional theater. The National Dr. Sun Yat-sen Memorial Hall had the highest percentage of foreign vs. local performances followed by the National Theater. The National Concert Hall sponsored in the highest percentage of overseas performances followed by The Novel Hall. The overseas performance with the longest stage run in Taiwan was the 2004 performance at the Taipei City Stage of “CATS” with 30 performances. The highest potential seats sold for a foreign program was the 55,308 sold for the 2004 performance of “The Sound of Music” at the National Dr. Sun Yat-sen Memorial Hall. 　　It is hoped that in the future, Agencies/Promotors will not only introduce foreign programs but will facilitate the export of Taiwanese performing art program and entities to overseas audience. It is also hoped that the Taiwanese government will amend laws to differentiate between local performance . It is also hoped that there will be an improvement in the management of local venues resulting in more efficiencies. And through the joint efforts of the government, the venues, Entertainment/Performance Booking Agencies and local performance groups, Taiwan’s Arts and Cultural environment will see positive future growth. Key Terms: Performing Arts, Performing Arts Agents, Artist Management Companies, Performing Arts Promotors, CKS Cultural Center.

With respect to the investment on cultural infrastructure, more attention has always been paid to the Northern than to the Southern area of Taiwan. The aim of this study is to examine the factors that led to the differences in development of the performing arts environments in Taipei and Kaohsiung by reviewing the historical background and analyze specific cultural statistics. The results show that there are indeed some disparities in the performing arts environments between Taipei and Kaohsiung. However, while the demands for upgrading the respective performing arts environments in Taipei and Kaohsiung both continue to exist, future sustainability of their operation is as important as the establishment of new hardware in order to create a better environment for cultivating a cultural creative industry in Taiwan.

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.

表演藝術的商品革新一直是表演從業人員所關心的時代議題，但是劇種的生與滅的關鍵卻往往不容易被清楚辨別，而且鮮少研究文獻觸及，因此，本研究嘗試以相聲商品在台灣的演化歷程為例，引用複雜科學理論中的複雜調適系統的概念予以結構化的分析，進而定位出相聲產業發展的階段性，並且詳加說明各階段特徵與事跡，主要研究結果有如下： 一、相聲產業中商品型態的世代交替演化機制： 1.相聲產業發展歷程中心智模式(dominant schema)的認同具有商品型態發展的決定性影響力。 2.相聲產業的分歧可以分為三構面：商品組合、廠商經營方式、觀眾心智模式。 3.「相聲劇」的突現是一種相聲商品「新價值」創造的過程 4.相聲劇是一個偶然發生卻又持續發揮影響力的突現現象。 5.「數位化唱片」是促進相聲商品型態蓬勃發展及加速相聲產業演化的Killer Application。 6.相聲產業的競爭層次非來自內部，而是源自於外部娛樂市場環境的競爭。 7.相聲產業的演化正向強化推力以相聲劇為中心。 二、相聲產業在台灣發展的演進歷程： 1.相聲產業發展歷程確實符合複雜調適系統的主要特性，因此適用複雜適應系統的演化分析方式。 2.「顧客價值結構的變遷」是相聲產業演化的重要動力來源。 3.系統的新秩序均衡仍未達成。 4.歷史觀點的相聲產業發展歷程大致為「新商品突現」□「新心智模式」□「新經營模式」□「產業分歧」。 三、相聲產業變革之於表演藝術商品的管理意涵： 1.相聲商品的順利更新，關鍵在於相聲產業環境自行業創建以來便是航行於混沌邊緣，具有隨境創新的產業特性。 2.產業內部慣性阻力小，是相聲商品型態得以持續存在創新行為的關鍵。 3.產業意見領袖的出現使得商品型態的革新更容易達成。

本研究從對饒舌現場表演中的「呼喊與回應」作為儀式的想像，發展成問題意識，一是拷秋勤如何將現場表演建構為與觀眾/樂迷的互動儀式，二是樂迷「儀式性參與」現場表演的內涵。針對此二問題，以台灣獨立樂團拷秋勤的現場表演與其樂迷作為研究對象，採用參與觀察法與深入訪談法，進行為期三個月的資料蒐集與訪談。經過整理，描繪出拷秋勤現場表演的各種面向，以及觀眾的組成與反應。在深度訪談部分探討樂迷從接觸拷秋勤到迷的原因、參與現場表演的動機、經驗與感覺、消費行為等。 研究者發現拷秋勤運用大量的呼喊與回應(call and response)與觀眾互動，其為拷秋勤表演一貫的特色，呼喊與回應作為互動儀式的意義在透過重複的帶動與對話建立與觀眾的連結，宣揚樂團的理念引起認同，提升現場觀眾熱情也凝聚樂迷的向心力。拷秋勤不斷使用關鍵字召喚觀眾的共同身份，製造象徵意義。現場表演的儀式特質在表演流程、表演歌曲的面向特別顯著。在樂迷「儀式性參與」的部分，只有少數受訪者呈現狂熱的參與情形，然而樂迷大多會重複地參與現場演出。樂迷儀式性參與的意義在於從中獲得沈浸的感覺，以及與現場融合為一體的感覺，享受現場的氛圍，擁護共同的理念從中獲得成長，與拷秋勤及現場所有觀眾交流情感。 現場表演是饒舌這個音樂類型與嘻哈文化最終的表現場域與管道，而迷與愛好者的參與是它們能長久發展的根源與基礎，因此呈現樂迷參與現場表演的感受，以及現場表演內容與結構吸引觀眾與樂迷的原因，的確有其必要性。因此，整理分析並呈現饒舌現場表演樣貌以及樂迷與愛好者的聲音、感受與意見，則為本研究與其他台灣嘻哈文化與饒舌研究的不同之處。 / This study is developed from the idea of imagining “call and response” in live rap performance as ritual, and is divided into two research questions. First, how does Taiwan rap band Kou Chow Ching build an interactive ritual in live performances through call and response techniques? Second, how do fans of Kou Chow Ching “ritualistically participate” live performances? In order to answer these questions, this study decides to conduct a three month long research through in-depth interview and participant observation method to collect data. Observation and depiction of six of Kou Chou Ching’s live performances are detailed in the thesis, also the composition and reaction of the audience in each show. In interviews, we discuss these fans’ reason and affection to Kou Chow Ching, motivation of participating live performances, experience and feeling, and their consuming behavior of Kou Chow Ching’s records, related products, and shows. Kou Chow Ching employs a lot of call and response techniques to interact with audience. The meaning of call and response as ritual, is that the repeated call and talking create bonding between Kou Chow Ching and audience, promote the band’s philosophy, heighten and cohere audience. Kou Chow Ching keeps summoning the audience’s sharing identity with key words, constructing symbolic meaning. Besides, in live performances, the ritualistic nature is also salient in their performing procedure and rap songs. Only a few of interviewees feverishly participate Kou Chow Ching’s live performances. However, all interviewees do regularly participate these shows. The meanings of fan’s ritualistic participation are gaining the feeling of immersion, merging with other fans and rappers on the scene, and enjoying the atmosphere, giving support to shared beliefs, and exchanging emotions and feelings with Kou Chow Ching and others. Live performance is the ultimate channel and field to manifest rap as a genre and hip hop culture, and the participation of fans is the root and foundation of rap and hip hop’s continuous growing. So it is necessary to acquire the content and structure of live rap performance, and fan’s response to it. Therefore, this study provides the observation of Kou Chow Ching’s live rap performances, and the voice of fans, which is a different approach comparing to studies of rap and hip hop culture in Taiwan.

新傳播媒體的進步與普及使得媒體成為最繽紛的當付環境。手機輕 巧易攜的「移動性」不單使其黏在使用者身上，更儼然是延伸身心的 「MEdia」。1997年台灣電信自由化，手機市場由1G邁向2G的同時，手 機和台灣人口比也超越100%，誕生於新移動媒體時付的「手機原住民」 們，溝通的模式不再因襲座機的語音模式，簡訊無聲簡要的溝通模式和 豐富留白的情誼交流取而付之，空間的文化意涵與自我認知遂產生全新 的意義。 本研究以Foucault的異托邦概念和Goffman的日常生活自我表演理 論，關注新媒體環境下的都會少男（Urban Boys），在生活場域中，如 何以簡訊在現實的物質空間和異托邦的他者空間中自由遊走，改變舊有 媒體的空間觀。更進一步，瞭解如何用簡訊塑造個人形象，建立、強化 人際關係，創造自己在社群中的權力。 本研究為質化取向，以六個台北市12～13歲少男為中心，使用深度 訪談和簡訊文本收集，並輔以一個月的簡訊日誌交互分析、論證，描繪 都會少男簡訊文化。研究發現，簡訊一方陎是少男因應生活環境中規範 和權力而選擇的無聲溝通，但另一方陎，簡訊的無聲也創造了秘密文本 的優勢。在社群以簡訊為基礎、共同建立的新符碼中，少男們和現實生 活中的同伴，建立了一個結構無法搆及的異托邦，讓定義生活的權力重 新回到自己的手中。