公營文化機構表演空間經營模式之研究─以臺北市立社會教育館為例

Abstract

本篇研究主題為公營文化機構的表演空間經營模式。因專業表演空間的建造經費龐大，而演出節目的經營是專業表演空間正常運作的重要關鍵，本文以臺北市立社會教育館轄下四座不同規模的專業表演劇場：文山劇場、大稻埕戲苑、親子劇場、城市舞台為研究對象，研究方法採用文獻分析、半結構式的深入訪談與個案研究，運用亞歷山大˙奧斯瓦爾德（Alexander Osterwalder）和伊夫˙比紐赫（Yves Pigneur）在其2010年著作《獲利世代 自己動手，畫出你的商業模式》（Business Model Generation：A Handbook for Visionaries,Game Changers,and Challengers）中的分析工具：經營模式圖（Business Model Canvas），來探討不同規模的公營專業劇場演出節目經營模式。 本篇研究發現價值主張和劇場定位主導了公營文化機構表演空間演出節目的決策方向，公營的劇場或表演空間取得演出節目的管道有駐館團隊甄選、創作節目甄選及檔期租借甄選等方式，其中小型劇場空間的主辦演出節目比例較高，有助於彰顯劇場特色與價值，中大型以上的劇場因符合表演藝術界之場地需求，具有市場競爭力，以租借節目較多，少數為合辦節目，若是特定表演性質定位的劇場，如推廣傳統戲曲藝術等，雖為中型規模，但租借節目較少，仍類似小型劇場以主辦節目為主，少數為合辦節目，以達成推廣特定表演藝術之目的，故公營文化機構之專業劇場空間因各有不同的價值定位，發展出不同的演出節目經營模式，以建立劇場特色和維持市場區隔。Abstract

This research aims to discuss the business models of theater program of public cultural institution. As the cost of constructing a professional theater is enormous and the management for performance program is a crucial key to the professional theater, this paper targets on four professional theaters in different scales of Taipei Cultural Center’s as follows: Wenshan Theater, Dadocheng Theater, Family Theater, and The Metropolitan Hall. Research methods of this study adopted literature analysis, semi-structured in-depth interviews and case studies, using the analytic tool: Business Model Canvas in the book of 《Business Model Generation：A Handbook for Visionaries,Game Changers,and Challengers》written by Alexander Osterwalder& Yves Pigneur (2010) Changers, and Challengers" , to explore the different sizes of public cultural institution program business models. The paper found that value proposition and theater positioning dominated the policy direction of public cultural institution programs. The channels of a theater in obtaining performance programs include selections of the in-house team, program of creation and leasing schedule, etc. Small theaters conducted a higher proportion of performance programs which highlighted the theaters’ features and values, while medium-large theaters, in order to meet the needs of an arts performing venue, and maintained market competitiveness, which tended to emphasize venue renting over joint programing. However, some medium-scale theaters with specific nature positioning, such as the promotion of traditional arts and drama, still emphasized performing program similar to those of small-scale theaters with less attention on joint programs for the purpose of promotion. Therefore, professional theaters of publicly-operated cultural centers had developed different business models due to different individual value positioning, which further established the theater’s distinguishing feature character and maintained their market segment.