探討臺北藝穗節之發展與轉變歷程

Abstract

回顧藝穗節的由來與背景，源自英國愛丁堡，鑑於愛丁堡藝穗節的成功及影響力，各國相繼效仿舉行，結合當地特色並發展出獨具當地型態的藝穗節，而臺灣在2008年成立臺北藝穗節，相關研究文獻卻鮮少，且當時臺北藝穗節的發展時間尚短，因此，本研究旨在探討臺北藝穗節在繁複多元的節慶生態中其定位的形塑，以參與團隊的發展來觀察成立至今對於臺灣表演藝術環境的影響，剖析臺北藝穗節自身特色，加強自我定位及價值。研究者爬梳文獻，首先整理全球藝穗節的發展概況，其次探討藝穗節的定位、價值，以及透過愛丁堡藝穗節案例，分析成功的因素。研究問題首先釐清臺北藝穗節的定位與舉辦價值，且針對這些年藝穗節對於國內新興表演藝術團體的環境及未來發展的影響。研究過程中，研究者從承辦單位、參與藝術家、專家學者等不同單位去做觀察與訪談，並以半結構式的方式列出訪談綱要。本研究的結論為臺北藝穗節對於新手團隊而言，是個很好起步的平台，已有相當的好招力，透過藝穗節的整體行銷資源能提升團隊在一般觀眾的能見度，但臺北藝穗節目前只能被視為新手團隊露出的平台，若能提升整體品質，在自由的參與機制下，建立出培育參與團隊及被看見的管道，將能夠帶動藝穗節的成長與發展。研究希望作為臺北藝穗節未來發展及經營之參考。Looking back at the origin and background of the Fringe Festival, it originated from Edinburgh, England. In view of the success and influence of the Edinburgh Fringe Festival, countries have followed establish, combined local characteristics and developed a unique local type of Fringe Festival. The Taipei Fringe Festival was established in 2008, but there are few relevant researches, and the development time of the Taipei Fringe Festival was still short. Therefore, this research aims to explore the positioning and shaping of the Taipei Fringe Festival in the complex and diverse festival ecology. The development of the participating teams will be used to observe the impact on Taiwan's performing arts environment since its establishment, analyze the characteristics of the Taipei Fringe Festival, and strengthen its self-positioning and value. The researcher organized the literature, firstly listed the development of the global Fringe Festival, and then discussed the positioning and value of the Fringe Festival, and analyzed the success factors through the case of the Edinburgh Fringe Festival. The research questions first clarify the positioning and holding value of the Taipei Fringe Festival, and focus on the impact of the Fringe Festival on the environment and future development of emerging domestic performing arts groups in recent years. During the research process, the researcher made observations and interviews from different light such as the organizer, participating artists, experts and scholars, and listed the interview outline in a semi-structured way. The conclusion of this research is that the Taipei Fringe Festival is a good platform for beginner teams to start. It has already attracted considerable attention. Through the integrated marketing resource of the Fringe Festival, the team's visibility in the general audience can be improved. At present, the Fringe Festival can only be regarded as a platform for beginner teams to expose. If the overall quality can be improved, its positioning can be clarified, and a channel for the team to be seen can be established, which can drive the growth and development of the Fringe Festival. The research hopes to serve as a reference for the future development and operation of the Taipei Fringe Festival.