探討COVID-19對表演藝術場館的影響─以新北市藝文中心及新莊文化藝術中心為例

受到疫情的影響以現今的日常生活文化為例，食、衣、住、行、育、樂無一不受到衝擊，更因為在疫情期間為了預防自身被傳染的機會增加，人們盡可能地避免隨心所欲的移動與外出活動，因為外出的任何一舉一動都有可能增加自己被病毒傳染的機會；舉例來說，值此期間臺灣民眾於外出時，進入公共場合與密閉室內環境之後便得配合相關防疫措施時刻緊戴口罩，同時完成入場實聯制登記等，以上所述已與我們原先習以為常的生活型態有著不同的改變，更直接影響人們外出的慾望，間接改變民眾的消費型態與選擇，對於社會、經濟更是走向了全面重組的情勢。雖然因為疫情的影響層面雖然非常廣泛，但是危機的背後就是轉機，雲端經濟、宅經濟等數位消費模式更趁勢崛起蓬勃發展，為了避免受到疫情的威脅，觀眾在觀演選擇有了改變，連帶表演藝術場館與團隊皆嘗試新的演出模式，例如採用線上直播演出等其他方式陸續出現，所以此時期對於臺灣表演藝術生態發展又何嘗不是現代版的文藝復興呢？本研究主要探討COVID-19對於表演藝術場館的衝擊與影響為何，並以新北市藝文中心及新莊文化藝術中心做為個案研究。在表演藝術場館面臨疫情之下於不同時期中所要因應的衝擊與直接的影響為何，以及採取何種緊急應變措施與解決方法，做為此研究的重點探討方向，論文架構包蘊，第一章緒論、第二章文獻探討、第三章研究方法與架構、第四章研究發現與結果、第五章研究建議，全文共計五章節。

關鍵字

表演藝術；表演藝術場館；藝術產業消費； COVID-19

並列摘要

Take today’s daily life culture as an example, food, clothing, housing, transportation, education, and pleasure are all affected by the epidemic. It is also because during the epidemic, people try their best to prevent themselves from being infected. Avoid moving and going out as you like, because any action you go out may increase the chance of virus infection; for example, when Taiwanese people go out during this period, they must cooperate with relevant anti-epidemic measures after entering public places and enclosed indoor environments. Wearing masks tightly at all times and completing the registration system for admission at the same time. The above has changed from the lifestyle we were accustomed to. It directly affects people’s desire to go out and indirectly changes people’s consumption patterns and choices. The society and the economy have moved towards a situation of comprehensive reorganization. Although the impact of the epidemic is very extensive, but behind the crisis is a turning point. Digital consumption models such as the cloud economy and the home economy are taking advantage of the trend to rise and flourish. Taking the consumption of the performing arts industry as an example, in order to avoid the threat of the epidemic, the audience's choices in viewing performances have changed. Associated performing arts venues and teams have tried new performance models, such as online live performances and other methods that have appeared one after another. Isn't the era a modern version of the Renaissance for the ecological development of Taiwan's performing arts?