將行銷學概念用來進行規劃表演藝術的推廣策略，因此將表演藝術觀賞者視為消費者 。消費者分析是進行策略規劃的重要依據，故消費者研究相當重要。消費者研究最初 是以人口變項為主，而為了深入了解消費者，因而發展出生活型態的研究取向，本論 文之研究核心是表演藝術觀賞者的生活型態。 生活型態的理論基礎源於心理學，到了一九六０年代被引用到行銷學領域。生活型態 是一個理論化、抽象化的概念，其操作化概念是心理統計變項。心理統計變項的測量 指標有兩部分：一是A.I.O.三面向，一是人口變項。本研究所採用的表演藝術觀賞者 之A.I.O.量表，有兩種，一是特定化量表，將表演藝術視為一種產品，測量與這種產 品有關的活動、興趣與意見。另一是一般化量表，測量觀賞者一般日常生活中的活動 、意見與興趣。 本研究以問卷調查方式，針對政治大學三年級學生進行調查，以因素分析及區別分析 為統計分析方法，探討表演藝術觀賞者與非觀賞者在生活型態方面有何不同。 本研究除了將「消費者行為」的理論應用到觀賞者研究之外，並可作為國內表演藝術 團體及單位推展表演藝術活動之參考。

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.

表演藝術為富涵社會文化價值之資產之一，然由於國內的藝術消費量偏低、政府補助及企業贊助等收入來源的不確定，使得表演藝術團體面臨營運上的困境，為在藝術行銷的幫助下，藉體驗行銷的觀念與架構分析觀眾的消費行為，瞭解影響其表演藝術消費體驗的因素與評估準則，以達成藝術價值與商業市場間的平衡，真正改善表演團體的營運狀況。 本研究經由表演藝術消費體驗之相關文獻，歸納出影響體驗之美學、社會、經驗及知名度等四大因素：美學因素涵蓋涉入程度與產品知識，社會因素包括社會地位、個人形象、參考群體以及家庭教育，經驗因素包括兒童及青少年時期經驗與前次經驗，知名度因素則探討表演團體的創作面與表演面的知名度。再藉由體驗的觀念劃分消費體驗的組成，進而納入表演藝術的特性與體驗評估的概念，發展含括表演本身、外在目的及表演團體之三大評估標的，並以消費者的滿意度為總衡量指標。在連結諸因素、消費與衡量準則間的關係後，形成動機、體驗、及評估的完整消費行為架構，並依研究目的劃分為影響表演藝術消費之因素模式與體驗評估模式兩大研究架構，以驗證相關之假說，釐清各項影響因素與表演藝術消費量、消費類型、及滿意度間的關係。 相較於過去大多數文獻的探索性研究，本研究以問卷調查法進行量化之分析，以台北市音樂、戲劇、舞蹈、及戲曲四大表演藝術節目類型之消費者為研究母體，於民國90年的2-4月間，自18場演出的觀眾中便利抽樣，由發出之5,250份問卷中，回收有效問卷897份。在實證分析上，將四大類別的表演藝術消費者個別進行統計分析之假說檢定，再將各類資料彙整以整合模式分析，最後以所有模式中顯著項目的比較，進行本研究假說的驗證。 研究結果發現：消費者的產品知識、擁有偏好藝術的朋友數目、自我認知的社會地位、兒童及青少年時期的接觸經驗、家庭成員的藝術消費量、及表演團體的知名度等，與表演藝術的消費量成正相關；消費者對藝術的涉入程度、及早期經驗中接觸的藝術類型，影響目前消費表演藝術的類型；消費者對藝術的涉入程度、參考群體的意見、及消費者的觀賞經驗，影響評估標的的重要性及整體滿意度，同時，上述之研究結果因四大表演藝術類型消費者之不同，而有類別上的差異。因此，根據本研究結果，進而納入體驗行銷的執行觀念，對整體表演藝術界及四大類別的表演團體提出不同行銷策略上之建議，並可作為政府在制訂文化政策時的參考，同時在學術貢獻上更進一步為表演藝術消費行為及體驗行銷的研究領域，豐富了彼此的內涵。 / Performing arts is one of the cultural assets in the society. However, due to the low consumption in arts and uncertainties of subsidies from the government and corporations, performing arts groups are now facing obstacles in operation. By employing the framework of Experiential Marketing, the paper aims to analyze the consuming behavior of audiences in the respects of the factors that influence the performing arts experiences and the evaluating criteria. With the sound understanding on the target customers, the performing arts groups, thus, will be able to reach the balance of arts value and market revenue by the assistance of arts marketing. According to literature, the study consolidates four factors that influence performing arts experiences; they are aesthetic factor, social factor, experiential factor, and brand-awareness factor, each of which represents different concepts. Aesthetic factor contains involvement and product knowledge. Social factor includes social status, self-image, reference group and family education. Experiential factor consists of childhood/adolescent experiences and the last viewing experience. Brand-awareness factor refers to creation-brand and acting-brand of the performing arts group. Incorporating the consumption experience characteristics, performing arts traits, and experience-evaluated concepts, the study develops three evaluating targets including performance, outside purpose, and performing arts group in the evaluation model, whereas consumer satisfaction is regarded as the indicator. By connecting the factors, consumption, and the evaluating criteria, the framework represents a complete consumer behavior process. To testify the related hypothesis, research framework is divided into factor model and evaluation model. Unlike most of the literature, which employs exploratory research methods, this study uses quantitative method to investigate audiences of music, theatre, dance, and traditional drama in Taipei. Convenience sampling was undertaken in releasing the questionnaire in 18 performances during February and April in the year of 2001. 897 valid consumer data out of the released 5, 250 is collected. In statistics process, four types of audience data are first separated into 4 different models, and then combined into a full model. Hypothesis verified is through outcome comparison of the five models. The result indicates that: product knowledge of the consumer, numbers of friends fond of arts, self-cognition on the social status, childhood/ adolescent arts-related experiences, arts consumption of family members and brand-awareness of performing arts group are all positively related to performing arts consumption. Arts-involvement, satisfaction of the reference group, and the last viewing experience of consumer affect the importance of evaluating targets and total consumer satisfaction. Four aesthetic types of audiences are found different in these outcomes. In conclusion, combining the result and the strategies of Experiential Marketing, the study proposes some suggestions in marketing strategies to four types of performing arts groups. Meanwhile, the research may serve as an implication for the government in formulating the national cultural policy. Furthermore, the research enriches the academic fields both on arts consumer behavior and Experiential Marketing.

本文從差別取價之觀點切入，討論目前具價格僵固性之表演藝術產業的票房收入情形，在消費者受多種因素影響其購票決策時，廠商如何採取最適因應策略、以使營收極大化。本文以折價票及座位調整作為廠商策略，建立一經濟模型探討在不同座位種類、座位品質、及外在條件時，廠商採取各策略之最適反應。 從結果我們發現，就座位調整來說，當為兩種價區時，只有當外在條件好時增加高價區可增加營收，在其他外在條件下則不然；而若增加為三種價區座位，除特定區間外，所有的外在條件與座位品質組合皆能找到一增加營收的最適座位調整方式。而另一方面就折價票之效果，則是不論條件為何、皆不能增加營收。

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.

VJ表演隱藏著一種矛盾性。VJ表演之觀眾特徵，較常表現出非主流的品味，傾向於追求與眾不同的體驗，與對於自主權的掌握展現較高的積極性。然而享受音樂表演意味著某種程度的沈浸與忘我，在觀賞表演時需暫時捨棄自身的自主權與主體性方有可能真正享受其中，這之間便產生了控制與被控制的矛盾。當互動科技的元素介入到VJ表演時，這種矛盾性就會更加明顯，甚至被揭露與強調。互動科技的加入旨在過程中使人們能夠參與，讓人們擁有做決定或影響表演的權力。故互動的VJ表演具有控制權矛盾之特徵，而這樣的矛盾性應當被表演設計者所發現並探索。本研究希望透過理論爬梳與作品實踐，探索互動加入在VJ表演時如何提高觀眾的參與感。於是如何盡量減少互動所造成的干擾性以完成一場互動表演，便成為本研究關心的一項重點。 　　在內容主題上，台灣民間信仰是關於控制與被控制一個很好的轉喻。故此計畫將設計一個以台灣民間信仰為主題的互動VJ表演，並利用台灣民間信仰來反映觀眾主體性矛盾與控制權矛盾的不同面相。

本劇改編自真實故事，以一位非洲鼓手為主角，描述他教姪子們打鼓，幫助他們走出喪父的陰霾，同時也化解自己與爸爸對立的關係、使家族情感重新凝聚的故事。從劇情中帶出一些普遍存在的生命經驗及困頓，以及在面對時所抱持的態度及過程，期能作為人們生命教育中的一環。 本文共分創作論述、劇本及附錄三個部分。論述的部分首先說明了〈鼓動人生〉故事的創作背景，並整理了親子教養觀、音樂治療、街頭表演藝術等相關文獻；其次為人物小傳、情節設計與先前故事，最後以創作心得及回顧檢討作結。附錄則為分場大綱。 / The film script is adapted from an authentic story, describing a drummer teaches his nephews how to drum in African style in order to help them ride out the grief from their father’s death. In the meanwhile, he also reconciles the conflict with his father, and cohered family bonds. In the script revealed are some commonly-existing life experience and hardship, the process in which difficulties are eventually overcome. The positive attitude towards life as displayed among the family members shows courage and can serve as a life education for the audience. The thesis consists of three parts: the literature review, script and appendixes. In the first part, the background of the story is mentioned, and then documents of parent-child upbringing, music therapy, and street performance are researched and filed. And the following are the life story of each role, the plot design and a prelude. And then an overview of the script writing is presented. In the end, the outlined plot is displayed in appendixes.

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.

近年來越來越多虛實整合技術不斷地湧出，像是電影阿凡達或虛實互動型態的表演。這樣的表演會根據事先預錄好的虛擬角色進行演出，但要成功地演出需要演員們不斷的練習。另外,許多電影利用攝影機捕捉人體姿態來與虛擬角色互動，但此方法受限於燈光環境以及障礙物。 此篇論文運用穿戴式裝置與新一代無線網路藍芽4.0,提出即時追蹤技術套用於這類表演,可使得演出更加豐富並且能即興創作。然而，目前受限於穿戴式平台上的藍芽訊號強度更新頻率每秒只有5至10次且傳輸容量有限，所以本篇論文結合體態感測裝置輔助無線網路藍芽4.0,提升對穿戴者的即時追蹤能力。實驗結果與真實位置只有0.3至0.5秒的延遲時間,並在校內進行兩場互動式展演作驗證成果。未來期許可以將此技術運用於多人展演場，讓更多使用者可以互動體驗。 / Recently, more and more interactive performance technologies appear such as Avatar or virtual-character integrated art perform. Such performs are based on pre-made animations and physics simulations. However, this kind of shows need a lot of practice, and it is impossible that audience or performers play with or interact with the virtual characters. In addition, many moviemakers use high quality cameras to distinguish body postures. Although cameras can record anything with high precision, it is constrained on the light and obstacles of the environments. If we, somehow, can capture the motion of the performers in real time, then we are able to interact with virtual characters and make improvisation possible. This thesis aims to use the wearable sensors and the Received Signal Strength Indication (RSSI) of BLE to track in real-time. However, the update rate of RSSI is limited to 5~10 per second. This thesis proposed a tracking technique which combines with wearable motion sensors to assist BLE localization. The tracking lag can be reduced to only 0.3~0.5 seconds, and also real performance was experimented in the campus. In the future, we hope to use this technique on interactive performance with many people in different places.

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。