Since the Grade 1-9 Curriculum Reform took place in 2001, performing arts curriculum at compulsory education schools of Kaohsiung had faced several difficulties in practice. At the same time, marketing of the performing arts organizations also dropped down due to economic recession. In order to solve the dilemmas of both sides, the researcher thought that a partnership between compulsory schools and performing arts groups is a worthy strategy to try. Two concepts, art education partnership and co-teaching, were used to build up a theoretical framework. It is shown that a successful partnership between a school and a performing arts organization is influenced by many factors. These factors were taken to analyze the cooperative condition happened between the compulsory education schools and the arts organizations at Kaohsiung. Meanwhile, two schools, Kaohsiung Municipal Jiachang Primary School and Kaohsiung Municipal Youchang Junior High School, were chosen as the target cases of this study after a consulting conversation with the Compulsory Education Advisory Group of the Kaohsiung Municipal Department of Education(CEAGK). Members including the school administrative personnel, school teachers, parents and students of both schools were interviewed by selective ways. Taiwan Bangzi Company and the Bean Theatre also contribute their experiences to this study. In addition, observation and document analysis were also used as methods to collect data. Major conclusions are as the following: 1. Full time teachers and appropriate teaching materials are desperately demanded for compulsory education schools at Kaohsiung , unfortunately, even hired teachers has faced job crises at this time. 2. Performing arts groups are aware of the importance to cooperate with schools. 3. Knowing the difficult condition of the performing arts curriculum at school education, the CEAGK adapted strategies to assist teachers improve their skills and employ resources outside schools. 4. ¡§Personal contact¡¨ is a common way to find a partner. No contract was made, but agendas were the only documents for the cooperation. The interview results also reveal that schools need to improve their ways in deliberating the information upon performing arts education partnership. Although to work with schools in educational project is usually the goal for arts organizations, most activities were designed under the ideology of audience development or marketing the coming performance. 5. Both the schools and the performing arts groups respond that ¡§funding¡¨ and ¡§human resource¡¨ are key issues to conquer in dealing with ¡§performing arts education partnership (PAEP).¡¨ 6. PAEP at Kaohsiung is still on the ¡§Exposure Stage¡¨, co-teaching model by an artist and a teacher is still rarely seen. No one has ever attended workshops for the PAEP. 7. Evaluation on the effectiveness of PAEP is still lacked. 8. The PAEP at Kaohsiung was influenced by many factors including policy, funding, key persons, time and the project quality. PAEP should be followed by certain ¡§educational goal.¡¨ At the time of this study, the CEAGK and the performing arts organizations have asynchronous opinions towards the PAEP.

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Les entreprises de spectacle vivant évoluent dans un contexte de diminution de ressources externes et de modification des modalités d’attribution des subventions par l’application de la LOLF (Loi Organique relative aux Lois de Finances). Leur problématique repose sur les moyens à mettre en œuvre pour faire face à ces contraintes. Nous nous attachons à démontrer que leur développement dépend de l’amélioration de la logique de coopération entre les acteurs à partir du projet artistique et de l’appropriation des contraintes d’évaluation de la LOLF, pour révéler les performances cachées et développer des ressources internes. Cette recherche se construit à partir de l’hypothèse que l’amélioration de la performance globale des organisations dépend d’une action transformative qui opère selon trois axes interdépendants : l’intervention, les outils de management, le langage–acteur. A partir d’une recherche-Intervention dans un théâtre et d’un diagnostic qualitatif dans un autre, nous accompagnons les acteurs dans une conduite de changement et étudions les conditions de développement managérial dans ce type d’organisation. Nous analysons comment l’utilisation du langage dans le cadre de l’Intervention Socio-Economique modifie les représentations et contribue à l’élaboration d’un nouveau dispositif managérial. Nous proposons d’associer les outils de management socio-Économiques, utilisés comme des matrices de lecture de l’organisation, aux critères d’évaluation et de subvention des pouvoirs publics pour en faire des outils de réflexion sur le processus de réalisation et de diffusion de spectacle et construire une représentation partagée entre les différents acteurs. / Performing arts companies operate in a context of declining resources and changes in the rules governing the allocation of grants, in accordance with the LOLF (Organic Law relative to the Laws of Finance). Their challenge lies in finding ways to address these constraints. We aim to demonstrate that their development depends on improving the manner in which all parties cooperate, based on the artistic project and taking into account the constraints resulting from the evaluation used by the LOLF, to reveal hidden costs and to develop internal resources. This research is based on the hypothesis that improving the overall performance of organizations depends on a transformative action that operates in three interdependent areas: intervention, management tools, and the speech-Actor. Based on intervention-Research in one theatre and on a qualitative study in another, we have assisted actors in the process of change management and examined the conditions in which managerial development takes place in this type of organization. We analyse how language use in the context of Socio-Economic Intervention modifies the representations and contributes to the elaboration of a new managerial instrument. We propose the use of socio-Economic management tools, serving as a framework for analyzing the organisation, combined with the criteria of evaluation and allocation of public funding as a basis of reflexion on the process of creation and dissemination of shows, as well as a means of building a shared representation between the different actors.