Since March 2020, community-based performance social groups have shifted drastically. With COVID-19, quarantining and social distance protocols, the ongoing pandemic has altered in-person social work and the way communities interact. The information shared in this thesis is drawn from 4 semi-structured qualitative interviews. The data showcases folks who are community leaders, teachers and social workers who use performance techniques with their clients. My study asked the Participants about their history using theatre arts within their practice and investigated how COVID-19 impacted their endeavours. The data collected implies that community work using theatre has an ongoing potential to support social change efforts toward rebuilding and sustaining connection. Yet, the data also discovered a growing divide that is further affecting marginalized folks who can not access community within a digital world. Inspired by the works of Lisbeth Berbary (2011) and Jonathan Gross (2021) this thesis artistically re-imagines the collected data as a social performance amongst the Participants involved. With permission from the Participants, an ethnographic screenplay using a creative analytical approach (Berbary, 2011), transformed the semi-structured qualitative interview findings to highlight key discoveries. These key discoveries outline a nuanced understanding of how performance for social change has been transformed and the tensions that arose, particularly the growing social divide for access (the divide between those who can access online community performance groups and those who lose out from a lack of technological accessibility). Analyzing these conflicting advantages and disadvantages can help build toward an inclusive and equitable approach for theatre as a vehicle for social justice. / Thesis / Master of Social Work (MSW)

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.