Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-02-07T16:00:38Z No. of bitstreams: 1 Laura Tonon Zuanazzi_.pdf: 3244157 bytes, checksum: 7a227bcd80ccfc229abe8c5d7321d5c2 (MD5) / Made available in DSpace on 2018-02-07T16:00:38Z (GMT). No. of bitstreams: 1 Laura Tonon Zuanazzi_.pdf: 3244157 bytes, checksum: 7a227bcd80ccfc229abe8c5d7321d5c2 (MD5) Previous issue date: 2017-04-20 / Nenhuma / A análise sobre o tema experiência de consumo permite identificar duas linhas de pesquisa distintas sob a perspectiva do consumidor. A primeira, defendida pelo marketing experiencial, aponta que a interação com o consumidor precisa ser preenchida com estímulos constantes que despertem surpresa e encantamento. A segunda, por outro lado, critica essa afirmação ao ressaltar que esse processo infantiliza o consumidor e que a busca atual é de liberdade na criação das próprias experiências. Especificamente no turismo, por se tratar de um setor do ramo de serviços, a elaboração da experiência por parte das empresas pode ser desenhada com características de um ou de outro cenário, residindo a dúvida de qual linha abriga a maior aceitação pelos consumidores. O objetivo desta dissertação é justamente analisar comparativamente experiências de consumo espetaculares versus espontâneas no turismo e, ainda, tentar compreender os pontos que aproximam e distanciam os dois cenários. Para tanto, foi realizada uma pesquisa qualitativa, inspirada na metodologia da pesquisa-ação para analisar, no momento do consumo, a reação e percepção dos consumidores em ambas as experiências. Os resultados foram divididos entre macrocategorias positivas e negativas e subcategorias específicas envolvendo as unicidades de cada cenário. Por fim, realizou-se uma análise comparativa entre as categorias que demonstrou a existência de uma linha tênue entre o que é considerado positivo e negativo em cada uma das abordagens. Este estudo instigou contribuições teóricas que criticam a existência de linhas dicotômicas e não relacionadas, sugerindo a complementação e coexistência de pontos positivos em ambos os cenários cenários para entregas de maior valor aos consumidores. Sob a perspectiva das empresas, os resultados apresentaram um conjunto de sugestões práticas que apoiam a construção de experiências de consumo positivas no setor de turismo. / The consumption experience studies lie on two different streams. The first one, supported by the experiential marketing, states that the interaction with consumers must be filled with constant stimulations that generates surprise and enchantment. The second one criticizes this idea suggesting that this process infantilizes the consumer; rather, it assumes that customers look for freedom to cocreate their own experiences. Regarding the tourism context, the construction of the experience by the companies can be drew in one or other scenario, leading to the question about which one have the best acceptance by consumers. The main objective of this dissertation is to comparatively analyze spectacular experiences versus spontaneous experiences in tourism and try to comprehend what are the points that put them together or that drive them away from each other. For this purpose, a qualitative research was conducted, inspired by the action-research methodology. The goal was to analyze, during the consuming process, the customers reactions and perceptions in both types of experience. The results were divided into macro categories – positive and negative – and specific subcategories in each scenario. Lastly, a comparative analysis between the categories showed the existence of a thin line that separates the perception of positive and negative in the two different approaches. This study instigates theoretical contributions that criticize the existence of a dichotomy between both lines and argues that both paths should complement each other and coexist. Under the companies’ perspective, the results exhibited a set of practical suggestions that support the construction of positive consuming experiences in tourism.

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.