臺灣微型表演團體跨界創作對營運管理之探討－以臺北市萬華劇團為例

對於為數不多的臺北小劇場人口，能準確掌握觀眾習性與喜好，成為小型／微型表演團體生存的首要之道。小劇場以其充滿實驗與多樣口味呈現饒富創作者本位的作品，並其儘可能在戲劇／舞蹈／音樂／新媒體之間跨界流竄，除了在內容上體現了更多元的表演藝術形式，另一方面也試圖吸引不同觀眾的跨界參與欣賞，呼應後現代社會解構與重組的藝術生態。本文將以Pierre Bourdieu文化生產理論為主軸，以成立五年的萬華劇團歷年作品脈絡與經營現狀為例，穿插訪談研究來試圖討論微型表演團體如何在現行補助與市場機制下存活，並且能否利用跨界文化產出，創作兼具叫好又叫座的演出作品。

關鍵字

微型團體；跨界藝術；萬華劇團；表演藝術管理

並列摘要

In order to survive in such a little population of theatre goers in Taipei, it is very crucial for the local theatre companies to precisely catch the audiences' tastes and to sustain their interests. Small and micro theatres usually demonstrate the highly creator-centric works and blur the boundaries of drama/dance/music/new media within. With such enthusiasms and experiments, the even more multi-dimensional performing methodologies are being presented, more fields of appreciation are being attracted, and artistry lifestyles for deconstruction and reconstruction of a post-modern society are being echoed and answered as well. Based on the theory of Culture Production from Pierre Bourdieu and the interviews and studies on the creation and operation of Wanhua Theatre Company (萬華劇團) in these 5 years, this article will explore the possibilities of micro performance groups' survival under public subsidy and market mechanism, and the opportunities of crossover artistic creations earning not only great acclaims but also a big box-office hit.

並列關鍵字

Micro Group ； Crossover Artistic ； Wanhua Theatre Company(萬華劇團) ； Performing Arts Management

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