摘 要 近年來，文化產業被認為是個別國家經濟發展以及社會生活品質提升的重要關鍵因素。而品牌對企業而言，不單只是區隔與其他公司的差別，還是一個企業在消費者心中的形象、承諾、品質、經驗的集合體。 本研究基於品牌管理對於台灣文化產業的重要性，整理各國文化產業發展概況，經由個案研究，探索台灣文化產業的品牌管理模式，以及影響台灣文化產業品牌管理的可能因素，作為後續相關研究的基礎。本研究主要研究目的為：一、彙整各國文化產業發展特性及差異。二、以品牌管理模式，針對台灣文化產業品牌進行個案分析。三、提出對台灣文化產業品牌管理的建議。 本研究為探索性研究，以個案研究法，針對個案進行次級資料收集、參與觀察及深度訪談。研究架構構面及變項分為:一、組織構面，分為品牌管理的權責與組織兩個面向。二、品牌策略構面，分為策略性分析及品牌架構面向。三、品牌識別系統構面，探討組織如何界定品牌核心識別、品牌價值主張、品牌與消費者的關係。四、品牌實行系統構面，探討品牌定位、整合溝通活動與效果評估。 文化產業特性差異甚巨，因資源限制，本研究選擇台灣表演藝術產業為研究對象。選擇具備文化產業品牌代表性，成立五年以上，且被文化產業認可的表演藝術團體進行研究，分別為優劇場、朱宗慶打擊樂團、紙風車兒童劇團、綠光劇團、果陀劇場、屏風表演班、及雲門舞集。 整體而言，台灣表演藝術產業，除少數團體具備較為完整的品牌管理知識與經驗外，皆缺乏嚴謹的品牌管理專業管理能力。在品牌管理的權責與組織構面，台灣表演藝術產業的品牌管理的權責皆為最高層級品牌決策者，且品牌管理的組織皆包括最高品牌管理決策者及整體行銷部門；在品牌策略構面，則發現多數團體的策略性分析不完整並缺乏品牌架構的意識；在品牌識別系統構面，則發現多數團體皆已建立品牌核心識別、具備品牌價值主張、清楚意識品牌與消費者的關係；在品牌實現系統構面，則發現多數團體缺乏嚴謹的品牌定位、行銷溝通缺乏整合性及未意識到品牌效果評估的重要性。在品牌經營的長期觀點部份，則發現作品的專業度是影響表演藝術產業品牌經營的重要因素及少數團體已能關注品牌如何永續發展的議題。 研究發現文化產業品牌的建構必須整體性關注四個構面：提高品牌管理決策層級、進行完整品牌策略性分析、建立嚴謹品牌識別系統、整合運用品牌實現系統。此外，必須以長期的觀點來思考與經營品牌，才能累積品牌權益。就台灣的文化產業而言，除了上述層面外，品牌管理專業訓練的加強，卻是台灣文化產業專業經理人的當務之急。證諸個案，更可發現經由完整專業的品牌管理，品牌經營所能延伸的經營成績。 / Abstract The development of culture industry has been considered as a rising index of economy development and quality-of-life of individual country in the modern world. To firms, branding is not only segmentation to differential, but also the collective of images, commitments, quality, and experience to a firm in consumer minds. Due to the important, and yet, unexplored nature of brand management of culture industry in Taiwan, the purposes of this research is to understand the development of culture industries in various countries, to explore brand management of culture industry in Taiwan, and to propose a workable brand management model for the culture industry in Taiwan. As an exploratory research by case study method, the scope of exploration consists of four aspects： 1.Organizational aspect, which includes decision maker and organizational flow of execution; 2. Brand strategy aspect, which includes strategic analysis and brand construct; 3. Brand identity system, which includes identity of the brand, brand value and relationship between the brand and consumers; 4. Brand execution system, which includes brand position, the integrated communication of brand, and the evaluation of brand performance. This study chose performance arts industry as study focus. Through secondary data collection, in-depth interviews, and participant observation, seven performance arts groups are being studies. In conclusion, except two performance arts companies, the rest of performance arts groups in Taiwan lacks of the professionalism to brand management. Brand decisions are all made by the top management and executed by the whole organization. Most performance arts groups do not have a thorough analysis of the brand nor have the awareness of brand architecture. In terms of brand identity, most observed groups have a clear brand identity, a differentiated brand value and a positive relationship between consumer and the brand. However, most groups lack of the sense of brand position, market communication integration and the importance of brand performance evaluation. Finally, in order to build a long-term perspective of a brand, the key factor still lies with professionalism.Two studied groups have already paid attention to the brand management issue to the continuous development of the brand.

公部門站在主要的資金提供者，並鼓勵企業加入贊助行列，支持表演藝術團體的持續發展。但是，有限資源面對眾多的申請者，資源提供者(公部門以及企業部門)，大都採取被動的態度，受理申請。這種傳統的資源提供模式，採取名額多、補助額度少的方式。因此，為爭取更多的資源，表演藝術團體必須在不同部門之間奔走，尋求資金挹注的最佳組合。此一模式，長期以來，造成資金提供者與資金需求者(表演團體)，雙方在資源交換的效率低、交換後雙方都不滿意；就社會行銷的觀點而言，如此的交換模式耗損相當高的交易成本，資源無法有效的整合與運用，無法創造最大的社會效益。使得公部門、企業、表演團體都急於尋找資源有效運用的良方。 以發掘商業組織為對象的創業投資，運用到以非營利組織為對象。透過策略管理的方式慎選投資標的，建構可以創造高社會報酬的計畫，稱為公益創投。本研究假設，公益創投可以運用在以創意為核心表演藝藝術產業，探討表演團體接受公益創投的可行性。公益創投主動尋求投資之標的，長期參與不僅投注資金，也投入人力以及各項資源。並要求達成設定的績效目標以及價值與利潤的回饋。 經由文獻探討，並以實務經驗者參與焦點座談的方式，實際模擬遴選準則以及實務上可能之標的等。發現對於公益創投的模式，表演藝術團體是有條件的接受，在尊重藝術創作的前提下，它提供一套系統化的投資方式，提昇資源應用的效率，創造更高的社會效益。讓有潛力的團體，能夠在需要的時機被主動發掘，成為重點投資的對象。是傳統藝術資源運用模式之外的另一項具有策略性的選項。建議，在現有的資源中提出一定的比例，採行公益創投的模式重點投資值得發展的計畫。 / The public sector plays a prominent part as the primary funding channels for performing arts groups as well as appeals to the private sector for joining the funding game. Limited funding resources have proven to be challenged for numerous fund-seeking applicants. The resource providers (public and private funding sectors) have been known to take on a passive attitude—accepting, assessing and allocating sent applications. This traditional interaction frequently adapts the “more dividers, less grant” model. In turn, performing arts groups spend more time circling different funding departments, in search of the best funding combination to meet their needs. This long-adopted method has caused low efficiency on both the funding providers and the funding seekers. Both parties rarely exchange their resources and even when do so, rarely are both parties satisfied with the mode of exchange. Taking the view of social marketing , this exchange pattern not only results in transaction costs, resources are left ineffectively integrated and therefore fails in reaching the best social beneficiary. Foreseeing hazardous future in funding, public sectors, enterprises and performing arts groups are jumping to find best applicable measures to resource integration. Seeking venture capitals to invest in nonprofit organizations. Weighing through strategic management and invest in the chosen organization to create high social rewards is “Venture Philanthropy”. This study hypothesizes Venture Philanthropy can be exercised on performing arts industry and based on this hypothesis, the study will discuss the feasibility of performing arts groups accepting Venture Philanthropy. Venture Philanthropy actively seeks investment target which not only participates in capital for the long run, but also puts forth human resources and other related assets. Investors must ask for the achievement of the assumed goal and the feeback of values and profits. In-depth research in literatures, seminars of administrators in performing arts groups, simulating panel selection with prospective invested candidates, this study finds Venture Philanthropy module is conditionally accepted by performing arts groups. Under the premises that investors trully respect artistic originalities , Mode of Venture Philanthropy provides a systematic investing frame and by increasing the efficiency of applied resources, highly beneficial results are introduced to the society. The module allows potential arts groups to be actively sought out in need time and become key investments. This boasts another strategic opportunity outside the traditional interaction between performing arts groups and funding sectors. In conclusion, it is highly suggested that a certain percentage of the existing resources can be released as Venture Philanthropy module to amplify deserving and potential groups .

文化是民族國家延續的命脈，文化發展更是社會進步的原動力。行政院文化建設委員會(1997)宣示「外交應以文化為主軸，推動臺灣的文化面貌是國際交流的首要工作」，臺灣政黨輪替後並邁入21世紀，政府依然將「兩岸文化交流」及「國外展演與文化外交」為近年來之文化政策與施政方針 (文建會文化白皮書，2004)。相較之於經貿外交，以文化交流開拓之外交空間更為廣闊，透過國際文化交流，既可開拓我國際生存空間、同時也提升國家國際形象。 「藝術經營」不僅是拓展藝術文化事業的手法，更可藉由創意的「行銷策略」，促成藝術活動、文化事業的蓬勃發展，以及提昇文化產值、開創藝文生機的目的。如何適當的運用策略性行銷(Strategic Marketing)與事件行銷(Event Marketing)以提升組織知名度，並獲取資源已經成為每個非營利組織及表演藝術團體思考的重要課題。 文化藝術活動的國際展演，從製作、選擇、出訪與宣傳的層層環節，與當代的社會環境、文化政策、政治需求以及外交情勢，有著密不可分的互動關係，有效的藝術經營管理、成功的文化行銷搭配之下，才有健全藝術市場和文化產業的可能性，同時也才能提供藝術文化工作者的生存空間，以及永續經營的發展基礎。 本研究藉由了解實驗國樂團(National Chinese Orchestra) 四個國際巡迴演出活動事件整合為一「策略性」行銷方案，藉以提昇組織核心能力及競爭優勢，來探討傳統音樂性質之表演藝術團隊成功運用行銷策略，綜合樂團藝術層面、觀眾欣賞層面、媒體報導層面加以整合，歸納出活動願景、呈現價值及表演藝術團體與國際非營利組織合作所建構之互動成效，作為相關組織經營發展策略新思維。 / The culture is the life that the nation continues, and its progress is a driving force for the social development. In 1997, Council for Cultural Affairs of Executive Yuan announced “Culture will be the diplomatic theme and the promotion of Taiwan’s culture will be the first important work of international exchange”. After the party alternation in power, the new Government still took “cross-strait cultural exchange” and “international touring and cultural diplomacy” as its cultural policy and administration guiding principle. Through cultural exchange, Taiwan can reach wider and deeper in the international community than via economic diplomacy, and can also promote the international image of Taiwan. The knowledge of “Arts management” can be used to expand the business of culture and arts, besides, through marketing strategy; it also enhances the development, value and vitality of arts activities and cultural business. Therefore, how to apply “Strategic Marketing” and “Event Marketing” properly to promote the publicity of the organization so as to gain more resource is an difficult challenge for every NGOs and performing arts companies. The international tours of the arts and cultural activities interact closely with social environment, cultural policy, political needs and diplomatic circumstance in every steps of the production. Effective arts management and successful marketing can enhance the arts market and cultural industry; provide the living space for arts and cultural workers, as well as nourish the base for perpetual operation. This research took the international touring concerts of National Chinese Orchestra as a successful example to illustrate the application of event marketing strategy of traditional musical groups, and concludes the vision and achievements from the aspects of artistry, audience appreciation and news reports so as to provide new direction and strategy of relative organizations in future development.

本研究以林懷民先生所創立之雲門舞集為例，探討台灣表演藝術團體以非營利組織型態經營發展之進程。研究問題有三： 一. 為什麼表演藝術團體要以非營利組織的型態來經營？他們真的很難盈利嗎？ 二. 非營利組織型態經營的表演藝術團體，應該如何評估其工作績效？ 三. 表演藝術團體以非營利組織型態經營時，如何邁向永續？ 林懷民先生被柏林晨報譽為「亞洲最重要的編舞家」，他於1973年創立雲門舞集，是目前台灣擁有最多專業舞者的舞團。雲門舞者的訓練包括現代舞、芭蕾、京劇動作、太極導引、靜坐與內家拳，完整專業的訓練使雲門舞集行走國際，累積許多經典舞作。 雲門舞集在1988年成立雲門舞集文教基金會，1998年創立雲門舞蹈教室，1999年成立子團「雲門2」，深入台灣各地校園和社區。2008年，雲門八里排練場大火，這個空間曾是數齣經典舞作的孕育誕生之地，大火毀了歷年的音樂資料，早年使用的道具、服裝和多媒體幻燈片。 本研究在組織構形的相關文獻上主要參考李仁芳教授所著之《管理心靈》(1980)，引申出雲門舞集在開創期、暫停期、成長期與成熟期等四期進程中所發生的組織構形。在組織成長的學理引用上，主要參考學者Larry E. Greiner 1998年在《Harvard Business Review》發表的〈Evolution and Revolution as Organizations Grow〉。 2009年4月，雲門舞集與台北縣(今新北市)政府舉行「徵求民間參與興建營運淡水文化藝術教育中心案」簽約儀式。「淡水文化藝術教育中心」是雲門依促參法規向台北縣政府提案申請興建的，佔地約1.5公頃，林懷民希望雲門從2013年開始有一個固定的家。本研究完成時，園區即將開工，人間事，塞翁馬？期盼未來更多學者持續觀察雲門的發展，因為台灣需要一個這樣的文化團體給人信心。 / This thesis takes Cloud Gate Dance Theatre of Taiwan as the primal case study that with document analysis, participant observation, and in-depth interview as the research methods to have better understanding of performing arts foundation when they might face in the institutionalized process. The overall objective of this study is： 1. Why, as the most prestige, renowned Performing Arts Company in Taiwan, Cloud Gate has to running with the pattern of nonprofit organization? Is it really difficult for Performing Arts Company to make profits? 2. How to assess and evaluate their working performance if Performing Arts Company is in nonprofit organization pattern? 3. While Performing Arts Company managing with the nonprofit organization mode and mind set, how to maintain their sustainability? Cloud Gate Dance Theatre of Taiwan was founded in 1973 as the first professional contemporary dance company in any Chinese speaking community. Directed by internationally renowned choreographer Lin Hwai-min, Cloud Gate transforms ancient aesthetics into thrilling modern celebrations of motion. The 25 dancers of the company receive trainings from the West and the East, including Chi Kung, meditation, internal martial arts, modern dance, ballet, and calligraphy as well. This research mainly consults 《The Managerial Mind》 (1980) written by Jen-Fang Lee Ph.D. and also thesis〈Evolution and Revolution as Organizations Grow〉 (1998) which was issued in 《Harvard Business Review》 written by Professor Larry E. Greiner. Evolve into Cloud Gate Dance Theatre of Taiwan, researcher define its history from creative stage, transition stage, growth stage to mature period organization phase taken place among the four processes. Without any similar comparison, Cloud Gate might be stands as a unique operational case; however, I hoped through the special operation analysis, It will sum up the general mode of contemporary dance company towards nonprofit foundation, which will benefit others for its practice managerial experience.

台灣表演藝術產業正受政府重視，但因國內市場小，各團體仍須開拓國際市場；相較樂團和舞團，劇團之附加價值率較高且國內目前極少相關之國際化研究，故本研究欲探討劇團首次進入國際市場的原因及過程、對其國際化有正面影響之因素，以及國際化歷程中面臨的困難和解決辦法。依據文建會資料並拜訪我國劇場產業之父吳靜吉博士後，選擇當代傳奇劇場和優表演藝術劇團進行個案研究之深度訪談，建立六大命題，發現管理高層若具國際經驗或英語溝通能力、不同市場的經驗性知識、政府補助，皆對劇團之國際化有正面影響，另外劇團的社會資本和網絡關係對於其快速初始國際化到心理距離較遠之市場具正面影響、劇團的網絡與人際關係對其初始國際化亦有正面影響。 / The performance arts industry has been gradually emphasized by the government of Taiwan since 2004. However, faced with extremely limited domestic market, performance arts groups should transcend home context to explore more opportunities. Compared with music and dance performance groups in the industry, theater groups are with higher value-added rate while having received less attention and research in the field of internationalization. Therefore, this study explores how they do the first foreign market entry, what drivers facilitate their internationalization process, and how they overcome obstacles. According to information from Professor Jing-Jyi Wu and the Council for Cultural Affairs, Contemporary Legend Theatre and Utheatre are chosen to be subjects of in-depth interview. Six propositions are then developed after interviews and data analysis. The findings indicate that drivers facilitating internationalization of theater groups include managers’ international experience and communication skills in English, experiential knowledge, and government subsidies. Business network and social capital favor their quick first entry into markets further away in psychic distance. Moreover, contacts and networks also have a positive influence on theater groups’ initializing internationalization.

網路社群媒體平台可能是數位發行的年代中至目前為止最具有威力的媒體平台。整合Facebook、部落格、微網誌、影音社群、SNS（Social Networking Service ），即時通訊等的網路社群媒體平台，可與真實資料的他人免費、不受時空限制的合作、共同參與、分享彼此資源資訊，使得訊息發送、情感聯繫不但更加緊密並快速營造如朋友社群般的關係影響力，再加上無線網路環境和數位化載具的快速進展，智慧型手機IPAD等滿足了大家的多元即時性，網路社群媒體平台串聯出的威力和影響力，已成為傳統媒體之外的另一個發聲利器，其威力甚至有時要比傳統媒體還要強烈，影響還要深遠！ 本研究旨在探討網路社群媒體平台之於表演藝術團體的價值，表演藝術團體如何運用網路社群媒體平台來進行營運，以及其關鍵的成功因素等議題，盼能引起大眾及表演藝術團體對網路社群媒體平台的了解與重視。研究選擇國內已經在網路社群媒體平台上活躍使用的表演藝術團體個案進行深度訪談及觀察探究，並輔以國外表演藝術團體網絡上的實地觀察和研究，以及次級文獻資料的蒐集佐證，進行分析探討。 本研究將「網路社群媒體平台」的角色定位為「表演藝術團體營運推展的有力夥伴，以體驗經濟形式共同創建表演藝術團體的營運產值」，研究問題及研究發現如下： 研究問題一：網路社群媒體平台之於表演藝術團體之價值為何？ 對應結論一：其價值有二點，包括： 一、網路社群媒體平台與表演藝術團體是虛擬的A型團隊合作關係。 二、網路社群媒體平台是表演藝術團體另一個微型的線上舞台，也是體驗經濟的延伸實踐。 研究問題二：網路社群媒體平台如何幫助表演藝術團體營運？ 對應結論二：其營運協助有五點，包括： 一、網路社群媒體平台讓表演藝術團體有更多的自主性及主導權來宣傳其創作作品，如同自己開了一家不用成本的二十四小時專屬媒體頻道。 二、網路社群媒體平台可協助表演藝術團體擴展精準觀眾群，並讓彼此之間關係互動更即時熱絡和緊密。 三、網路社群媒體平台可以協助本土的表演藝術團體更容易國際知曉增加國外粉絲。 四、網路社群媒體平台的免費及低學習門檻特性，讓非營利組織的表演藝術團體節省了大部分網路軟硬體設備及網路專業訓練的成本，甚至行銷宣傳經費。 五、網路社群媒體平台已成功協助表演藝術團體販售周邊商品，票券和募款。 研究問題三：表演藝術團體運用網路社群媒體平台營運的關鍵成功因素？ 對應結論三：關鍵成功因素，包括： 一、表演藝術團體運用五感體驗及說故事的力量鼓動並掌握群眾的互動和黏著度。 二、創意、主題策畫、知識涵度並以觀眾服務角度勤發布的真誠內容仍是吸引群眾擴充增加、協同、分享並每日追隨的重要因素。 三、明星偶像效應勢不可擋，表演藝術團體中靈魂級人物的訊息和親自上陣互動仍是令群眾瘋狂黏著並串聯分享的主因。 四、表演藝術團體對社群網路媒體平台的媒體特性、功能及操作技巧的了解以及主事者的全力支持是其推展營運最重要成功關鍵。 / In the digital publishing era, the media platforms of social networking websites have probably been the most powerful figure by far. By integrating the social networking websites of Facebook, blogs, microblogs, video-sharing websites, SNS (Social Networking Service), people can join and share resources and information and get from people their substantial cooperation that is free and unlimited by time and space.The delivery of messages can be speedier, and relation closer; moreover, the effect as that produced within a community of friends can thus be developed.Due to the highly advanced WiFi and digital devices, smartphones and tablet computers meet the need for diversity and instantaneity.The power and influence gained by integrating media platforms of social networking websites has become efficiently instrumental for one to be heard, and its force can reach far greater and deeper than the traditional media! The research aims at exploring issues concerning what the value media platforms of social networking websites can have on performing arts groups, how to run the groups through those platforms, and the key factors of success, in order to draw the attention from and increase the understanding of the public. The subjects chosen in this study are performing arts groups that have been active in media platforms of social networking websites in Taiwan. In-depth interview and observation will be used in exploring each case. Foreign performing arts groups will also be observed at the scene and studied; besides, the documentation of secondary materials will be collected, analyzed and discussed. Topic 1 What is the value of media platforms of social networking websites to performing arts groups? Conclusion 1 There are two valuable facts: 1.The relation between media platforms of social networking websites and performing arts groups belongs to virtual "Type A" cooperation. 2.Media platforms of social networking websites function as an alternative micro "online stage" of performing arts groups, and that is also the realization of the extension of experience economy. Topic 2 In what ways can media platforms of social networking websites help operate performing arts groups? Conclusion 2 There are five ways: 1.Media platforms of social networking websites allow greater independence and control for performing arts groups in promoting their works, as if they own a channel exclusive for themselves, broadcasting non-stop and without cost. 2.Media platforms of social networking websites can help broaden the targeted audience, and make the interaction between them closer. 3.Media platforms of social networking websites can help local performing arts groups increase their visibility overseas and thus the number of foreign fans. 4.The free-of-charge feature and highly accessibility of media platforms of social networking websites allows the non-profit performing arts groups to save much of the cost of hardware, software and training, even the promotion. 5.Media platforms of social networking websites have successfully assisted performing arts groups to sell merchandise and tickets, and to raise funds. Topic 3 What are the KSF (Key Success Factors) in the employment of media platforms of social networking websites by performing arts groups? Conclusion 3 The KSF are: 1.The force created by performing arts groups using sensory experience to tell stories can encourage and control the interaction and attachment of the audience. 2.Creativity, theme planning, knowledge imparted, and the sincere and diligent posting of messages that are service-based, audience-centered, still serve essentially to attract the public that may increase in number and be willing to cooperate and share with each other day after day. 3.Stars are invincible! The messages and presence of, and the interaction with the key figures of performing arts groups can make the audience crazy and thus get closer to share. 4.The understanding of the characteristics, functions, operating skills of media platforms of social networking websites by performing arts groups, plus the full support from the person in charge, is the crucial factors of success.