- 學位論文
『舊作重製』對現代劇團營運之效益
The Effectiveness of Non-premiere Production on Modern Theatre Operations
摘要
近幾年臺灣劇場興起『舊作重製』風潮。部分劇團開始將曾經演出過的劇目，尤其是首輪演出時受觀眾喜愛的劇目，在首輪演出之後，規劃於特定或不特定期間，進行『舊作重製』。整體而言，現階段的臺灣現代劇團，呈現豐富多元的題材與文化內涵，但受限於營運資源的現實條件，不少劇團對於製作掌控、觀眾累積與市場拓展，仍處於持續摸索的階段。而『舊作重製』這類重新創造作品「再生產價值」的營運模式，對於現代劇團的營運產生何種效益與其影響？ 本研究以質性研究的個案研究及深度訪談法，作為研究範圍之界定以及資料收集與分析之工具。挑選6個『舊作重製』個案劇團，包括『屏風表演班』、『表演工作坊』、『綠光劇團』、『台南人劇團』、『金枝演社』、『莎士比亞的妹妹們的劇團』等進行資料收集與分析。第一部份整理歸納現代劇團「製作演出」價值鏈之價值活動，並說明每一項價值活動在營運架構下的核心專業。第二部分，檢視現代劇團以『舊作重製』為「製作演出」的過程，與新製作相比較，兩者在價值活動的相異處，以及『舊作重製』在價值活動呈現的優勢與挑戰。第三部分，分析『舊作重製』在財務構面與非財務構面的呈現的效益。 研究發現，『舊作重製』因於與「首輪演出」的時間差距，分為「有延續性」或「無延續性」兩種類型。「有延續性」創新程度較低，「無延續性」創新程度較高。隨著創新程度的高低，『舊作重製』在「成本效益」的優勢有所差異，但執行效率仍較新製作有優勢。 『舊作重製』可持續創造作品再生產價值，延長作品生命週期，舒緩劇團主要創作者的創作壓力，展現劇團成熟的製作能力與演出品質，是協助劇團朝向永續經營的可用策略。『舊作重製』風潮象徵臺灣表演藝術「內需市場」仍有開拓空間，從『舊作重製』吸納的觀眾組成以「新觀眾」居多的現象可見一般，因此在「觀眾拓展」與「口碑建立」面向，『舊作重製』有顯著、正向影響，是促進劇團品牌形象提升、吸引新觀眾、開拓新市場的有利途徑，最後逐步朝向建立劇團『招牌劇目』的目標前進。
並列摘要
The non-premiere production wave raises among modern theatre companies in Taiwan in recent years. Some of these theatre companies began scheduling in specific or non-specific period to re-perform the non-premiere production, which were once the audience favorite when first-round performed as the premiere production. Overall currently, modern theatre companies in Taiwan have the energy to present rich and diverse subjects and cultural context. But being limited in operating resources, lots of these theatre companies are still exploring the know-how of production capacity, audience development and market expansion. As a re-creations reproduction value mode, what benefits and impact can non-premiere production bring to these modern theatre companies? In this study, we use qualitative research, case studies and in-depth interviews to define research scope and analyze data. Six modern theatre companies, including Ping-Fong Acting Troup, Performance Workshop Theatre, Greenray Theatre Company, Tainan Jen Theatre, Golden Bough Theatre, Shakespeare's Wild Sisters Group, are the research cases for their experience on operating non-premiere production. The study finds that non-premiere production can be divided into two categories, continuity and non-continuity, according to the time gap of re-producing after first-round performances of premiere production. The percentage of freshness in continuity production is less than in non-continuity one, and affects the cost effectiveness of non-premiere production. However, comparing to premiere production, non-premiere production gets relatively advantages in the execution efficiency. Non-premiere production brings benefits. It continually generates reproduction values of theater works, extends the life cycle of the works, relieves pressure on the main creators, and presents mature production abilities and qualities of the modern theatre companies. It is a practical strategy driving theaters to develop continually. The non-premiere production wave in Taiwan displays that there are still space in the domestic market of performing arts, according to the observation that the audience of non-premiere production are mainly composed of new consumers. Thus, non-premiere production brings obvious and positive influence in increasing audiences and market. It is the short path to accumulate brand values of theater, attract new audiences, and enlarge market share. It helps the companies eventually achieve the goal of Repertory Theatre establishment.