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.

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，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.

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.