開放不設限－香港藝穗會的使命與經營策略

蔡如歆

《跨界對談五 表演藝術研究所學術研討會論文集》 第五屆 (2008/06) Pp. 150-177

https://doi.org/10.29517/KJDT5.200806.0150

摘要

對於藝術創作者而言，最理想之工作環境非資源充足、自由無設限的空間莫屬。然而，年輕、前衛、實驗性質高的展演卻往往難以對抗主流價值獲取充分資源。
作爲遠東地區首先貫徹「開放政策」的藝術組織－香港藝穗會(Hong Kong Fringe Club)成立於1983年，透過經常活動與藝穗節／乙城節的舉辦，匯集各類藝術形式，積極地提供藝術家自由創作與呈現作品的環境。
本研究透過個案研究途徑，探討香港藝穗會如何在與政治、社會環境互動下，維持「提供藝術家一個開放、不設限的平台」精神。最後，根據分析內容提出以下結論：
一、地理位置和消費者習價爲影響收益比例的重要因素；
二、經營自有空間創造金流、人流優勢；
三、空間規模與資源分配限制交流發展可能；
四、藝穗節／乙城節定位轉變爲藝術家建立新合作模式；
五、社會環境背景加強對抗主流文化的動機與策略。

關鍵字

香港藝穗會 ； 乙城節 ； 藝穗節

並列摘要

It is the dream for artists-having an unbounded space to create their works. However, it is hard to compete with the mainstream for emerging, avant-garde, or experimental artists because of the limited resources.
Hong Kong Fringe Club was the first platform in Far East established in 1983 following the principle of openness for all performers. It nurtures all artists by presenting the works and supporting them with free environment through regular events and the Fringe Festival (City Festival).
This case study summarizes each part of operation of Hong Kong Fringe Club, including how it interacts with the government and the society. At the end, this study proposes five conclusions:
1. Location and consumers' preferences both became the main factors of attaining capital for this case.
2. Running space on its own creates the positive influence on the funds and participators of the Hong Kong Fringe Club.
3. The scale of space and resources distribution bring it to the bounded position.
4. By shifting the orientation to spotlight the Festival, Hong Kong Fringe Club creates a new model of artists' development.
5. The social background increases the motivation to be against the mainstream arts.

並列關鍵字

Hong Kong Fringe Club ； City Festival ； Fringe Festival