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.