臺灣沉浸式劇場經營模式探討：以《驚喜製造》團隊為例

近年來，沉浸式展演成為一股熱潮，被運用於諸如展覽、博物館、電影院等許多與文化、娛樂相關的場域中，而表演藝術也打造出所謂的「沉浸式劇場」。目前全球市場上最具代表性、亦是最為人所知的沉浸式劇場團隊與作品，為英國打醉劇團（Punchdrunk）2003年所發表之作品《不眠之夜》（Sleep No More）。至於臺灣，其實也早在2003年《不眠之夜》作品出來後，便開始投入創作自己的沉浸式劇場作品，只不過作品相對不成熟，數量也較為稀少，作品也不以「沉浸式」來命名，因此較少為人所知。近五年來，也跟科技的進步有關，沉浸式類型的展演開始演遍地開花，表演藝術方面，在2017年後，開始有越來越多「沉浸式劇場」作品出現，尤其是在戲劇與舞蹈類作品上。越來越多沉浸式劇場作品的出現，市場上也逐漸出現專門製作浸式劇場作品的團隊。目前在臺灣，較穩定推出作品並且在網路上有較高討論聲量的團隊為《驚喜製造》，其作品之一《微醺大飯店1980s》亦是臺灣頗具代表性的沉浸式劇場作品，該作品也創下臺灣最長定目劇的紀錄。現代人消費，越來越重視體驗和情感滿足，而非僅僅是產品或服務本身。這也是近年逐漸開始流行起的「體驗經濟」，沉浸式劇場正好打中了消費者對於體驗經濟的需求，然而，沉浸式劇場創作者又是如何為消費者創造最大化的體驗。本研究，將針對臺灣的沉浸式劇場創作團隊－《驚喜製造》，探研其經營模式。所採用之方式，為文獻蒐集法、個案研究法，以及深入訪談法。首先透過文獻蒐集，瞭解沉浸式劇場的樣貌、臺灣沉浸式劇場的發展過程等。後續，再透過所欲研究之個案，進行深入訪談，探討其經營模式與作品產製過程等，進一步探究團隊如何能在臺灣打造出頗具代表性的沉浸式劇場作品與團隊，亦從中發現團隊在目前的市場或社會大環境上的發展現況、所遇之困難，以及未來所期待之展望等，並針對問題的發現，給予實質性的建議。另外，除了個案的訪談與研究外，亦會訪談該領域的其他相關人士，獲得更多元的觀點與視角，發現臺灣沉浸式劇場發展的現況、未來發展的可能性與前景、瞭解臺灣沉浸式劇場現在與未來可能面臨的挑戰與困難等。綜上，透過問題的發現，提出實質性建議，最終亦期望提供給臺灣沉浸式劇場團隊經營面向的借鏡與參考，以促進臺灣沉浸式劇場產業的可持續發展。

關鍵字

臺灣沉浸式劇場；沉浸式體驗；沉浸式劇場；體驗設計；跨領域

並列摘要

In recent years, immersive exhibitions have become a trend, being applied in various cultural and entertainment-related venues such as exhibitions, museums, and cinemas. Performing arts, too, have crafted what is now known as "immersive theater." Currently, the most representative and well-known immersive theater company and work in the global market is the UK’s Punchdrunk with its 2003 production, Sleep No More. In Taiwan, efforts to create immersive theater works began soon after Sleep No More was introduced in 2003. However, these early works were relatively underdeveloped, limited in number, and not explicitly labeled as "immersive," leading to lower visibility. In the past five years, driven partly by advances in technology, immersive exhibitions have begun to proliferate, particularly in the performing arts. Since 2017, an increasing number of immersive theater productions have emerged, especially within theater and dance genres. With this trend, dedicated teams producing immersive theater works are also steadily appearing in the market. In Taiwan, one of the most stable and widely discussed teams online is Surprise Lab, with one of its productions, The Great Tipsy Hotel 1980s, becoming a representative immersive theater piece and setting the record for Taiwan's longest-running show. Modern consumers are placing greater emphasis on experiences and emotional fulfillment, rather than merely products or services. This shift has aligned with the rise of the "experience economy," which immersive theater directly caters to by fulfilling the demand for enriched experiences. However, how do immersive theater creators maximize the experience for consumers? This study explores the business model of Taiwan’s immersive theater company, Surprise Lab. The methods adopted include literature review, case study, and in-depth interviews. First, the study reviews literature to understand the structure of immersive theater and the development process of immersive theater in Taiwan. Subsequently, through a focused case study, in-depth interviews are conducted to explore the business model and production process of Surprise Lab’s works. This investigation further examines how the team has established a representative immersive theater in Taiwan, uncovering their current operational context, challenges, and future outlook. Based on these findings, the study provides practical recommendations. Additionally, the research incorporates interviews with other professionals in the field, bringing in diverse perspectives and insights into the current status and potential future of immersive theater in Taiwan, as well as challenges the industry may face now and in the future. Ultimately, through identifying these issues, the study aims to offer references for Taiwan’s immersive theater teams to support sustainable development within Taiwan’s immersive theater industry.