表演藝術交易平臺運作機制分析

A study of operation system on trade platform of performing arts

陳虹岐(Hung-Chi Chen)

指導教授 ： 何康國

國立臺灣師範大學/藝術學院/表演藝術研究所/碩士(2012年)

摘要

近年來，各國爭相發展表演藝術交易平臺，根據規模及性質的異同，表演藝術市集及國際藝術節慶亦囊括其中。在交易平臺中，表演藝術等同於一般商品，表演團體或藝術家可透過交易平臺有更多的國內、外演出機會；藝術節慶策展人、藝術機構、藝術經紀公司、或任何需要買進表演藝術產品之單位代表的是買家，透過交易平臺挑選優質適合的表演節目。而交易平臺其功能著重於商業交易，是一個創造交易或交易發生的地方，主要提供交易行為的場域，透過展覽、精華集錦、研討會、工作坊及交流等活動，以促成買家與賣家之間的交易活動為主要目標。

　　臺灣近年來欲以藝術博覽會形式打造交易平臺，例如2010年與2011年，文建會以「華山藝術生活節」－表演藝術交易所作為交易平臺雛形，期待能長期經營為表演藝術市集，擴大表演團隊的市場能見度，但尚未達到預期之國際規模；新加坡表演藝術交流會 （Live! Singapore）以成為亞洲最重要的表演藝術交易平臺為期許，透過表演藝術展覽會創造交易的機會，藉由表演藝術研討會交換資訊，並用表演藝術活動來激勵同業視野。本研究擬分析全球表演藝術交易平臺發展現況，並以國內外知名案例為輔，剖析其運作機制，另針對「新加坡表演藝術交流會」運作機制進行效益評估，藉此做為臺灣未來發展表演藝術交易平臺之參考。

關鍵字

表演藝術交易會 ； 表演藝術交易平臺 ； 表演藝術市集 ； 運作機制

並列摘要

In the past few years, countries around the world have been developing their own trade platforms in performing arts, and among the tide include the performing arts market and the arts festival basing on their scope and characters. Performing art works are viewed as products within trade platforms, on which the performing arts ensembles as well as the individual artists become accessible nationwide or overseas, while the festival programmers, arts organizations and agents of the sort are greatly benefited by the same token. What a trade platform aims to do is to facilitate the act of commerce, providing a place of mercantile pursuits either through the form of trade fairs, showcases, conferences, and workshops, etc.

Taiwan have also been seeking to build its trade platform through arts expositions, as was what the Council of Culture Affairs modeled after— the performing arts trade fair of the “Huashan Living Arts Festival” in 2010 and 2011, which was embarked in the long term for the purpose of transforming into a performing arts market, and in an effort to enhance the visibility of the market of performing arts ensembles and artists. However, such attempt has yet been realized to its international standard as expected. What’s worthy of mention is another case taking place abroad, “Live! Singapore”. This event was held to build the most important trade platform in Asia, creating commence opportunities through the performing arts trade fair, exchanging information through conferences, and invigorating the counterparts with broadening visions through a variety of art events.

This study refers to the current development of trade platform in performing arts worldwide, together with renowned cases to examine the operation system, focusing on the case, “Live! Singapore,” in particular, to conduct a analysis and benefit assessment in curating models and results in the hope of providing applicable reference for future dedication to trade platform in performing arts.

並列關鍵字

Performing Arts Trade Platform ； Performing Arts Trade Fair ； Performing Arts Market ； Operation System

參考文獻

陳其南、劉正輝 （2009）。文化公民權之理念與實踐。國家政策季刊，4卷3期，頁次77至88。

謝朝宗 （2011）。雲門再訪下一波，同時迸發臺灣文化風。PAR表演藝術雜誌27期，頁次16。

林琇瑛（2010）。《國內表演藝術經紀現況發展研究》。臺北：國立臺北藝術大學藝術行政與管理研究所碩士論文。

李惠美 （2010）。理想與現實的殺市場戮戰場—表演藝術市集。PAR表演藝術雜誌，212期，頁次96-107。

黎家齊、盧家珍 （2010）。專訪文建會主委從「2010華山藝術生活節」談文創政策的未來。PAR表演藝術雜誌213期，頁次68-72。