Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114516
Title: 牯嶺街小劇場營運管理研究
GULING STREET Avant-Garde Theatre Operations Management
Authors: 潘襎
Pan, Fan
莊雅足
Chuang,Ya-Tsu
Keywords: 小劇場.
前衛劇場
委外經營
OT
閒置空間
Little theater.
Avant-Garde Theater
Contracting out
Operate-Transfer
Vacant or Unoccupied space
Issue Date: 2015
Abstract: 「牯嶺街小劇場」原址於1906年(明治39年)時期屬木造建築體,為日式宿舍。隨著1945年臺灣省行政長官公署接收臺灣,1950年成為台北市政府警察局刑事組辦公室,1954年於木造日式宿舍上新建二層加強磚造式辦公廳舍,正式成為台北市政府警察局「第七分局」辦公廳舍,1959~1969年間又擴建東側後棟為三層樓建築。1967年更名為「臺北市政府警察局古亭分局」,1990年再更名為「臺北市政府警察局中正第二分局」,此其時該辦公廳空間已不敷使用,另行覓地建造,1995年於南海路與重慶南路上的新建大樓完工,「中正二分局」搬遷至該新空間。 牯嶺街於50、60年代漸趨發展為以集中舊書攤集市聞名的街道。迄1972年,台北市政府以整頓交通與美化市容為名,將牯嶺街舊書攤拆除,目前留下的舊書店已顯稀少,難以想見當時情狀。而「牯嶺街小劇場」位處街角之兩向立面呈現Art Deco(裝飾藝術)風格形式,內部留置室(拘留室)仍舊維持原狀,保存當時警察局建築之特色。 該空間於「中正二分局」1995年搬離後,1996年在台北市政府幾經偕同藝文界人士會勘後定調該址規劃為藝文劇場之使用,並召開局處協調會解決建物權狀使用登記等事項,以符合建築法相關規定,1997年在學者專家建議下將該建物列為台北市「紀念性建築物」, 1998年10月起「中正二分局派出所小劇場」於焉誕生,開啟第一個將閒置空間再利用釋放為文化用途的場域。依「文化資產保存法」,台北市文化局於2014年4月8日將該空間公告屬「歷史建築」(衙署)。 自1998年迄今台北市政府將該空間OT委任「台北市小劇場聯盟」(1998年10月~2001年10月) 、「如果兒童劇團」(2001年12月~2004年12月) 、「身體氣象館」(2005年7月~2014年6月~)三個團體營運管理該劇場,在「台北市小劇場聯盟」及「如果兒童劇團」兩團隊近六年營運管理,似乎仍深陷建築體修繕維護、財務經費短絀、劇場營運管理摸索階段及劇場美學邊緣化之困境,至身體氣象館營運管理時期公部門更對該場域採取「自負盈虧」政策,更令藝文團隊財務捉襟見絀。 本論文將以「台北市小劇場聯盟」、「如果兒童劇團」及「身體氣象館」三個團體營運管理該劇場之營運管理歷程經驗為研究主體,探討公部門文化空間治理公共性論述思維,與藝術創作者參與空間營運管理所產生之衝突、歧異,以此案例來檢視公部門長期以來文化場館公共空間均質化之委外政策,以及藝文團體從事文化場館營運時之懸缺,試著從中找到公、私部門未來建構新文化治理的思維及協調關係。
The original building of the Guling Street Avant-garde Theatre is a wooden, Japanese-style dormitory constructed in 1906. As the Taiwan Provincial Governor's Office took over Taiwan in 1945, the building became the office of the Taipei City Police Department’s Criminal Investigation Unit. Two enforced-brick floors were added in 1954, and the building officially served as the office of the Police Department’s Seventh Branch. From 1959 to 1969, another floor was added to the rear building at the east side. In 1967, the Seventh Branch was renamed as Guting Branch, and renamed again in 1990 as Zhongzheng Second Precinct. However, the room was inadequate for office use by the time, and the Department had to find new space. In 1995, the Department’s new building was constructed at the intersection of Nanhai Road and Chongqing South Road, and the precinct moved to the new office. Guling Street gradually developed to a cluster of bookstalls in 1950s and 1960s, until Taipei City Government tore down most bookstalls in 1972 in the name of facilitating transportation and amenity. The remained bookstalls are so few now that one would find it difficult to imagine the street’s golden age. Standing at the street’s corner, the Guling Street Avant-garde Theatre’s two facades were in the style of Art Deco, and the detention room in the building is preserved as it was, keeping the architectural characteristics of police branch. Taipei City Government officials investigated the site with representatives from art communities in 1996, after the police branch moved out. It was then decided that the building should be planned for theater’s use. Related agencies were summoned to coordinate and alter the title deed registration to meet the regulations of the Building Act. In 1997, with the suggestions of scholars and experts, the building was listed as Taipei City’s commemorative building. The Zhongzheng Second Precinct Theater started to operate in October 1998, and became the city’s first case of releasing idle public space for cultural use. In accordance with the Cultural Heritage Preservation Act, the city’s Department of Cultural Affairs announced the building as historical architecture on April 8, 2014. From 1998, Taipei City Government followed the Operate-Transfer (OT) model and commissioned Taipei City Little Theater Union (October 1998 to October 2001), IFKids Theatre (December 2001 to December 2004) and Body Phase Studio (July 2005 to June 2014) to operate the theater. However, the first two groups seemed to be trapped in the predicaments of building maintenance, financial problems, poor management and the marginalization of theater in their nearly six-year operation. The public sector launched the self-financing strategy during the third group’s operation, bringing the group’s finance in rags. This thesis will go through the three groups’ operating process to investigate the conflicts and differences between the public sector’s discourses on cultural space management and artists’ participation in the performing space operation. It is hoped that by looking into this case, the homogenized OT policies for public space which the public sector relies for long and the art groups’ deficiency on operating cultural venues can be reviewed, and a new way of thinking and coordinating relations for cultural management between the public and private sectors can be formed.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0098603312%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114516
Other Identifiers: G0098603312
Appears in Collections:學位論文

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