The Municipal cultural center plays the major role for culture promotion in every city/county in Taiwan. It has great influence on performing arts industry in the past 20 years. Facing the environment change, a municipal cultural center should know how to adjust its functions to meet the needs of the theater in the future. The researcher studied the cultural centers in the seven cities/counties of southern Taiwan before of the merger of 2011, analyzed the development of performing arts, arts activities, audience participation, and the utilization of these cultural centers. The staffs of seven cultural centers, fourteen performing arts groups, and four experts¡¦ opinions are asked in order to know the strength and weakness of cultural center. To accomplish these purposes, the researcher applied the case study method of qualitative research in this study. The study also adopted questionnaire survey and interview to collect data. On the part of the cultural centers, it showed that: 1. Cultural centers usually meet the demands of performing arts groups and provide venue. 2. Cultural centers make their own application schedules, twice a year. 3. Most of the cultural centers have middle-sized theaters. 4. The renting cost of the venue depends on each center. 5. The performances of the cultural centers usually come from domestic groups. The programs directly sponsored by the cultural centers are rare. On the part of performing arts groups, most of them are satisfied with the assistance of the cultural centers. However, they still raise some issues which cultural centers should improve, such as the application schedule, the usage time of the venue, the venues staffs¡¦ collaboration, the provision and improvement of the theaters¡¦ equipments, promotion method and higher subsidy. The study concluded that the cultural centers should adjust their policies, redefine their positions, raise the budget, cultivate the professional talent of the workers, develop self-characteristic, cooperate with other centers, improve the quality of programs, give clear channel of the information, enhance the relationships with the communities and develop the audience.

People are usually unaware of crises. Good preparation and prevention routinely can reduce the impact and influence of a crisis when it occurs. People are frightened of the hazards from a crisis, but it can also be a turning point for the situation. A good crisis management can effectively avoid crises. Even when a crisis happens, the crisis management can minimize the damage and help an organization to resume its functions which may turn a crisis into an opportunity. Therefore, having a good knowledge of crisis management becomes more and more important in the modern society. This study uses three-stages crisis management theory, pre-crisis stage, in-crisis stage, and post-crisis stage, combining with the characteristics of performing arts in Taiwan to analyze and evaluate the shutdown incident of Ping-Fong Acting Troupe¡¦s ¡§Incredible Country¡¨ in 2001. There are three main purposes of this research: (1).To review the theories and practical knowledge about crisis management; (2).To examine the procedures of handling the cancellation of Ping-Fong Acting Troupe¡¦s ¡§Incredible Country¡¨ and to evaluate if their crisis management can be used by others. (3).To make some suggestions for the performing arts groups to understand the importance of crisis management. The study also recommends that a performing arts company should not only adapt the crisis management from business world, but also recognize the characters of performing arts. A good crisis management of a performing arts organization is to balance between its financial structure and artistic concern simultaneously.

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 .

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.