反思後疫情時期臺灣現代劇團線上展演

表演藝術一直以創作現場演出作為主要的營運模式，但在2020年疫情的影響下開始進入線上展演領域。本研究在台灣後疫情時期這個特殊的時空背景下，了解台灣線上展演的發展狀況。從政府的支持系統、線上展演內容的產製面、文本、消費、以及勞動面，並加入數位科技與網路平台流通的概念，探討現代劇團投入線上展演領域時遇到的狀況與問題。同時了解劇團對發展線上展演的態度，進一步探討線上展演在台灣未來的發展可能性。本研究將台灣線上展演分為線上直播、播放以往演出錄影檔、短片製作、以及經營播客頻道四類，利用深度訪談法了解劇團投入線上展演的真實經驗與想法，最後由紙風車劇團、故事工廠、夾腳拖劇團、以及阮劇團作為訪談對象。研究發現劇團在線上展演產製過程中，對於數位技術的應用會遇到時間與資金不足的問題，同時也需要重新適應新的製作模式與工作內容。而劇團在展演的過程中需要在網路上與眾多內容競爭觀眾的時間，但過程中受到展演平台的規範，影響了觀眾對劇團作品的點閱率，連帶限制了劇團透過線上展演的營利。政府在疫情期間希望推動線上展演形式，但紓困補助作為劇團在疫情中主要的資金來源，卻不足以支撐劇團製作線上內容的支出，更因為補助的結案時限而增加劇團製作線上內容的時間壓力。同時國表藝在推動線上展演過程中與劇團一樣受到線上平台的限制，增加了台灣發展線上展演領域的難度。劇團一直重視劇場「現場性」特質而對線上展演有所抗拒，但在疫情期間漸漸轉變態度願意嘗試發展線上領域，雖然劇團在該領域遇到各種困難也還沒有準備充足，但依然希望能在當中找到長期發展的方向，應對不斷改變的未來。

關鍵字

線上展演；現代劇團；數位科技；平台化；疫情

並列摘要

Live performance has always been the main business model of performing arts. However, under the influence of Covid-19, it has begun to enter the online performance field. This study aims to understand the development statuses of virtual performing arts shows in the particular context of post-pandemic Taiwan. It discusses the problems encountered by modern theatre entering the online performance field: problems that may arise from the government’s support system; the production, text, consumption, and labor aspects of a virtual performing arts show; and the concept of digital technology and platform circulation. At the same time, by understanding modern theatre’s attitude of virtual performance, it aims to explore the possibilities for the development of virtual performing arts shows in the Taiwan of the future. This research divides Taiwan’s virtual performing arts show into four categories, including live online performances of shows, online streaming of recorded performances, video clips, and presentation through podcast channels. By using an in-depth interview method, it also aims to understand real-life experiences of producing online performances of modern theatre. The interviewees of the study were Paperwindmill Theatre, Story Factory, Flip Flops Theatre, and Our Theatre. The research shows that in the process of online performance production, a theatre troupe may find that, by using digital technology, they encounter the issues of insufficient time and funds. At the same time, they must adapt to the new production mode and different performance content that is required when a show is presented online. Theatre troupes were also affected by the platforms’ provision and management mechanisms. By controlling the audience’s ability to access material on the platform, these jointly limit the profit gained from a theatre troupe’s online performance. The government hoped to develop online performances during the epidemic; however, relief subsidies as the main working capital of a theatre troupe are not enough to support the expenditure of online performance production. In addition, the time limit for receipt of subsidies increases the pressure to produce the online performance within a tight timeframe. Meanwhile, the National Performing Arts Center also restricted by online platforms in the process of online performance promotion, which increases the difficulties faced in the development of online performance in Taiwan. Theatre troupes always attach importance to the “live” quality of theatre. However, the Covid-19 outbreak has had the effect of changing theatre troupes’ attitudes and prompted them to develop the field of virtual performance. Although the troupes encountered various difficulties in this new field and were not yet fully prepared, they still hope to find a long-term development direction to respond to the changing future of performance.