以中國信託文教基金會「新舞臺藝術節」（2015-2020）個案探討企業基金會舉辦之表演藝術節慶

中信金控長期獨資經營座落於臺北市區的「新舞臺」場館，並於1996年成立中國信託文教基金會負責其表演廳的營運工作。作為臺北市首座民營中型多功能表演廳，其價值展現於專業劇場管理及優質前台服務，備受觀眾與演出團隊推崇，成為國內民營表演廳經營優秀典範。2013年因母企業中信金控本部大樓遷移，依據相關銀行法規產生存廢之爭議，新舞臺不得不暫停營運，中國信託文教基金會之運作模式也因此產生轉變。本研究為個案研究，個案將以中國信託文教基金會於2014年展開之「新舞臺藝術節」為例，透過文獻整理、基金會內部人員、藝術節演出團隊及業界專家學者訪談，進行分析並歸納結論。本研究結果顯示中國信託文教基金會在「新舞臺」暫停營運後，以既有專業資源重整組織，並同時以活動主辦、策畫及贊助之多面向角色推動「新舞臺藝術節」之籌辦。作為國內少數由民營企業主辦之表演藝術節慶，新舞臺藝術節致力給予國內表演藝術團隊及工作者舞台與曝光機率，更進一步將藝術節整合母企業公益相關資源，分別提升了參與藝文團隊之品牌力與企業形象，並促使產業界思索企業基金會轉型為專業藝文活動之作單位之可行性，藉以創造效益循環，並可能改變產業生態。

關鍵字

基金會；新舞臺藝術節；表演藝術節慶；中國信託文教基金會

並列摘要

“Novel Hall of Performing Arts” was a sole proprietorship performing venue operated by CTBC Financial Holding for a long term, who also founded CTBC Foundation for the operation of the venue. As the first private multi-functional performing hall of medium size in Taipei City, the professional theater management and the high-quality service at the front of the house are credited with its great value and highly praised by the audience and performing groups. Novel Hall of Performing Arts thus became the operating model of private performing venues across the country. However, due to the move of CTBC Financial Holding’s headquarters building in 2013, Novel Hall of Performing Arts had no choice but to suspend operations, which also led to the change of CTBC Foundation’s operating mode. This is a case study about CTBC Arts Festival presented by CTBC Foundation started from 2014, conducted to analyze the effectiveness of the festival through document analysis and in-depth interviews with insiders from the Foundation, performing groups of the Festival, scholars and experts in the industry. The results show that CTBC Foundation restructured the organization with its resources and has been pushing forward the presentation of CTBC Arts Festival with a multifaced identity- as the presenter, the organizer and the sponsor. As one of the few performing arts festival presented by private enterprises in Taiwan, CTBC Arts Festival has been endeavoring to provide performing arts groups and workers with opportunities of exposure, at the same time enhance the brand power of the performing groups involved and its own corporate image respectively with the integration of parent company’s relevant charitable resources into the festival. The case inspires the thought of the possibility to turn corporate foundations into professional arts event production team of industry workers, which might create benefits circulating between foundations and arts group and bring impacts to the development of the industry.