This research is motivated by the proposition of the legitimacy of applying ¡§little theatre¡¨ as the mode of theatre management. The core context and the judgment of value of theater management today are founded basically on a ¡§large-scare theatre¡¨ paradigm; this causes, for most of the time, prejudice and insufficient result in managing theatrical affairs. To analyze the details of this problem, I started from rediscovering the ideological conflicts between Modernity and Post-Modernity, and tried to solve this dualistic misunderstanding by using ¡§Post-Modern Turn¡¨ as the mode of transcending. Since the term ¡§Post-Modern¡¨ is generally associated with social aspects as post-industry society, information society, organizational behaviors and consumption theory, etc. it is necessary to redefine theatre management as the issue of discussion in the realm of sociology. In order to approach my ideal strategy for today¡¦s theatre management, I developed three major parts as the frameworks of study: 1. the Post-Modern Turn of sociology of art, 2. five faces of modernization of Taiwan¡¦s modern theatre, 3. the Post-Modern Turn of organizational management and Taiwan modern theatre. I believe the difficulty of theatre management today lies not in the issue itself, but in the way we look at it. By relocating this problem in a social context, we can have a rethinking of how art management is possible, of exploring the updated and proper solutions for today¡¦s theatre management.

The thesis covers the history of the Vancouver Little Theatre Association (VLTA), one of the oldest amateur theatre groups in Canada. The subject was chosen partly because of the shortage of informative papers written on the histories of amateur theatre in Vancouver. As there has been very little written on this subject, the majority of the research was done with primary sources, most of which were in the VLTA archival collection at the City of Vancouver Archives. The VLTA was founded in 1921 by a group of people inspired by the art theatre movement in Europe. The Association proved to be very popular from its inception, and was able to buy a theatre building by its third season. The building was its home base until 1978. The Depression at the end of the 1920s dramatically affected the VLTA, and the company, once financially successful and widely accepted, lost much of its stability and following. From then on, most of the history of the VLTA is a struggle for survival. During the Second World War, the Association helped with the war effort, either by raising money for war charities or by giving performances for servicemen. At the end of the war, professional theatre began to emerge in Vancouver, and the VLTA had much competition. This early professionalism led to the building of Vancouver’s civic theatres in the late 1950s and early 1960s, as well as the founding of smaller, alternative, professional theatre companies of the 1970s. The Little Theatre found that it could not compete with these new movements. The Association’s position in the Vancouver theatre scene was forced to change. The Introduction presents a brief overview of the theatrical ongoings in Vancouver before the inception of VLTA, as well as the reasons behind the creation of the Little Theatre. Chapters Two to Five cover the main part of VLTA’s history, from its inception in 1921 to the selling of the York Theatre building in 1978. Chapter Six brings up to date the rest of VLTA’s history and discusses whether the VLTA succeeded in its original mandates. It also considers why VLTA remained amateur, while other little theatres in Canada turned professional. The thesis will cover the internal workings of VLTA as a company, and its position in the Vancouver Theatre scene in comparison to other theatrical happenings in the city.

Thesis (Ph. D.)--New York University, 1987. / HTML version of 1987 doctoral dissertation. Last viewed 8/11/2008. Includes bibliographical references (leaves 217-218).

The thesis covers the history of the Vancouver Little Theatre Association (VLTA), one of the oldest amateur theatre groups in Canada. The subject was chosen partly because of the shortage of informative papers written on the histories of amateur theatre in Vancouver. As there has been very little written on this subject, the majority of the research was done with primary sources, most of which were in the VLTA archival collection at the City of Vancouver Archives. The VLTA was founded in 1921 by a group of people inspired by the art theatre movement in Europe. The Association proved to be very popular from its inception, and was able to buy a theatre building by its third season. The building was its home base until 1978. The Depression at the end of the 1920s dramatically affected the VLTA, and the company, once financially successful and widely accepted, lost much of its stability and following. From then on, most of the history of the VLTA is a struggle for survival. During the Second World War, the Association helped with the war effort, either by raising money for war charities or by giving performances for servicemen. At the end of the war, professional theatre began to emerge in Vancouver, and the VLTA had much competition. This early professionalism led to the building of Vancouver’s civic theatres in the late 1950s and early 1960s, as well as the founding of smaller, alternative, professional theatre companies of the 1970s. The Little Theatre found that it could not compete with these new movements. The Association’s position in the Vancouver theatre scene was forced to change. The Introduction presents a brief overview of the theatrical ongoings in Vancouver before the inception of VLTA, as well as the reasons behind the creation of the Little Theatre. Chapters Two to Five cover the main part of VLTA’s history, from its inception in 1921 to the selling of the York Theatre building in 1978. Chapter Six brings up to date the rest of VLTA’s history and discusses whether the VLTA succeeded in its original mandates. It also considers why VLTA remained amateur, while other little theatres in Canada turned professional. The thesis will cover the internal workings of VLTA as a company, and its position in the Vancouver Theatre scene in comparison to other theatrical happenings in the city. / Arts, Faculty of / Theatre and Film, Department of / Graduate

本論文嘗試從法國當代社會學家Pierre Bourdieu 的「文化生產場域」出發，期能為在地的小劇場研究提供一個全新的分析視野。鑑於「收編論」所引發的諸多爭議乃是小劇場當前迫切需要解決的問題，而問題癥結之所在又涉及小劇場的「反體制」定位，因此有必要重新檢視「小劇場運動」的興起與轉型。本文章節的安排如下：第一章為導論，主要在指出一般收編論辯的盲點，以及「場域」分析的適切性，作為本文的起始點。第二章則探討Bourdieu的文化生產場域，並提出本文的中心問題與研究架構。第三章重新檢視「小劇場運動」(1986-1989) 的萌發，以及藝術中介機制如何挪用以型塑神聖的光環，而成為象徵暴力的來源。第四章探討九０年代小劇場可能性空間的轉型，這個轉型主要遭受文化生產場域內部兩個層級化原則的挑戰，以及文化正當性危機。我們並以一個空間圖式分析當前戲劇場域的結構。最後第五章，將回到收編論的主戰場(1994人間劇展)，並以此作為總結。由於媒體介入辦展的特性，因此討論的重心同時擴及劇展的媒體呈現與信念的生產。研究結果指出： (一)小劇場運動與反對力量的結盟，不過是政治發生危機時所產生的一種「誤認」。其間被挪用的利益則是新知青自我表徵的階級習癖、前衛藝術工作者的秀異色彩、以及文化中介者作為挑戰舊有建制的象徵籌碼。小劇場作為另類媒介的期許並未真正落實。 (二)自「反體制」光環中退出的小劇場，在重新汲取文化正當性的同時，反而受制於權力場域的遊戲規則－即本土化的大浪潮與市場取向的專業化迷思，卻少有察覺。 (三)關於收編論的談法僅將焦點限於小劇場與國家機器之間，恐有問錯問題之嫌。政策的開放不代表內在創作環境的自由，小劇場商品化的趨勢以及向中心移動的復權慾望，才是真正的癥結所在。

Grotowski a influencé fortement, grâce au Théâtre U, les créations du Petit Théâtre taïwanais. Les recherches de Grotowski autour des techniques de la source, pour les artistes du Petit Théâtre taïwanais, revêt un caractère propre à leur culture populaire et les aident à s’identifier comme une communauté spécifique. Hérité du Théâtre U, le Théâtre Golden Bough ne s’exclut pas de la tendance à la recherche d’une nouvelle langue physique sur la base de techniques traditionnelles, mais progressivement, il s’est orienté vers un type de comédie musicale populaire. Le Théâtre Golden Bough met en scène de façon burlesque des stéréotypes de films et de séries télévisées du genre mélodrame. Le bricolage d’extraits de médias d’aujourd’hui avec des éléments d’hier construit une passerelle reliant les spectateurs contemporains à une « belle époque » empreinte de nostalgie des années 1960.Cette thèse décrypte la situation des Taïwanais souvent tiraillés entre des conflits identitaires. L’étude du Théâtre Golden Bough montre comment les artistes du théâtre ont représenté les différences culturelles, les tensions sociales, dans leurs mises en scène et le jeu des acteurs. Elle permet de mettre en exergue les logiques qui orientent l’évolution de la construction et l’affirmation d’une « identité taïwanaise ». / Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective.

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