觀眾開發是藝術行政和藝術教育的共同議題,忠實的觀眾群更是支撐表演藝術產業的重要基石。從宏觀的藝術生態而言,西方學者普遍認同個人參與戲劇創作及欣賞表演藝術演出,同樣該被視為藝術參與之一。Kreidler 和Tronstine提出文化生態框架,指「在非專業的情境下參與文化活動」的文化實踐,諸如業餘戲劇參與,可支撐著專業文化產物與服務 (National Endowment for the Arts,2011)。因此業餘藝術參與並不能只被視為與藝術行業不相關的「娛樂或消遣活動」,而是對有助藝術發展的一部份,亦因此值得作為探討及研究藝術發展的課題之一。 本研究以焦點團體法訪問了十九位香港業餘戲劇參與者,了解其參與動機、觀賞動機、觀賞選擇及參與和觀賞的關係。發現首次參與動機與持續參與動機的轉變、參與內在動機與外在動機比例相同、參與動機及觀賞動機差異多於相同、參與經驗不一定影響觀賞以及業餘戲劇參與形式的特殊性。
Audience development is a common topic between art administration and art education. A faithful group of audience is also an important basis for performance art industry. From the macro perspective of artistic ecology, individual involvement in creating and appreciating art counts as a way of art participation. Kreidler and Tronstine point out in their framework of cultural ecology that, artistic practice “in a non-professional context for involvement in cultural activities” such as amateur theatre participation, helps sustain professional productions and services. Therefore, amateur artistic involvement should be seen as more than “entertainment and recreation”, irrelevant to the art industry. As cultural policy makers, art administrators and art educators are advised to understand art involvement as a significant part for art development from various perspectives. This research conducted in focus group as research method which was used to make the interviewees discuss in depth about their experience in drama participation. The researcher came up five major findings from 19 interviewee experiences and discussion.
為了持續優化網站功能與使用者體驗,本網站將Cookies分析技術用於網站營運、分析和個人化服務之目的。
若您繼續瀏覽本網站,即表示您同意本網站使用Cookies。