演藝團隊分級獎助計畫對布袋戲劇團經營策略的影響──以廖文和布袋戲團、臺北木偶劇團為例

布袋戲的生態環境，可分為祭祀劇場、商業劇場、文化場及大眾媒體四種型態，隨著型態的不同，也影響到劇團的經營策略。本研究選擇103年度至107年度入選演藝團隊分級獎助計畫的布袋戲劇團，進行劇團經營策略的深入探討，選擇兩個發展級布袋戲劇團──廖文和布袋戲團、臺北木偶劇團進行質性研究，前者長期耕耘於野臺布袋戲，同時跨足電視布袋戲，後者則是跨越育成級與發展級的古典布袋戲劇團，期能藉由涵蓋祭祀劇場、商業劇場、文化場及大眾媒體四個面向的兩個研究對象，深入了解發展級的布袋戲劇團之組織經營、人力資源管理、劇團行銷管理及劇團財務管理模式。本論文同時從演藝團隊分級獎助計畫的變革、布袋戲相關文化政策與藝文補助的角度，針對國家藝術基金會與雲林縣文化處表演藝術科此二單位進行深度訪談，藉以剖析布袋戲相關藝術獎助與文化政策的發展現況，同時與布袋戲劇團提出的問題交叉比對，進而探討布袋戲文化生態的概況、困境與展望。透過本研究的討論與結果，給予文化施政機關、獎補助中介機構與布袋戲從業者若干建議與參考。

關鍵字

布袋戲；演藝團隊分級獎助計畫；經營策略；傳統戲曲；文化政策

並列摘要

The cultural ecology of puppetry can be divided into four types: sacrificial theater, commercial theater, cultural field and mass media. As the forms differ, the operational strategies for the troupes are made accordingly. This study used the glove puppetry troupes that were selected to enter the Sponsorship Plan for Multi-level Performance Arts Teams from 2014 to 2018, to discuss the troupes’ operational strategies in depth. This study chooses two developing glove puppetry troupes --- Liao Wen-Ho Puppet Show Troupe and Taipei Puppet Theater for a qualitative study. Liao Wen-Ho Puppet Show Troupe has performed on the Jin-Guang Stage for many years, and has been on televisions, while Taipei Puppet Theater is a traditional glove puppetry troupe that is both mature and developing. The goal of this study is to use the two research objects in four venues: sacrificial theater, commercial theater, cultural field and mass media, to gain a deep understanding of the organizational, operational, HR management, troupe management, and financial management models of glove puppetry troupes that give public cultural performance. This study also includes a report of the in-depth interview with The National Culture and Arts Foundation and The Performance Art Branch of The Cultural Affairs Department of Yunlin County on topics such as the reform of the Sponsorship for Multi-level Performance Arts Teams, cultural policies relevant to glove puppetry, and artistic sponsorship. The purpose of the interview is to analyze the development of artistic grants and cultural policies related to glove puppetry, and to compare and contrast the answers with issues raised by the puppetry troupes. The information will help us understand the overall status, dilemmas and prospects of the glove puppetry world. The discussion and results presented in this study may provide suggestions and references for cultural administrative agencies, grant and sponsorship agencies and actors in glove puppetry.