展演中心行銷策略之探討-以桃園鐵玫瑰藝術節為例

Abstract

桃園展演中心(又稱鐵玫瑰)作為桃園地區最具指標性的藝文館舍，有其先天的環境及硬體優勢，然而桃園市作為大臺北都會區的衛星城市，也面對臺北地區、國家級場館對觀眾的強大拉力。館舍行銷方式多元，除了足夠的宣傳經費、增加露出管道、高藝術水準的演出、視聽效果良好的硬體設施、專業友善的前臺服務之外，更重要的是讓人不得不親臨場館欣賞的節目原因。本研究以桃園市政府藝文設施管理中心主辦鐵玫瑰藝術節為研究案例，透過個案研究、文件分析、深度訪談及問卷調查法等研究方法，探討2018 年至2020 年該中心一改過往籌辦方式，聘用專業策展人統籌藝術節整體活動規劃，作為桃園展演中心館舍知名度行銷之成效。透過FTCCP 模式及整合行銷、政策行銷6P 等行銷理論為研究架構，分析鐵玫瑰藝術節策展決策及行銷策略規劃，再藉由深度訪談藝術節策展人、主辦藝文館舍、表演團體及觀眾四方代表，輔以2020 年鐵玫瑰藝術節觀眾問卷調查，以瞭解為期3 年的策展對館舍知名度拓展之成效，與由此建立之場館形象，是否符合館舍既有營運定位。針對地方藝術節慶活動作為館舍行銷策略，本研究建議：一、地方藝文節慶活動以藝文推廣為核心宗旨，並應有明確的策展主軸且符合館舍定位及營運目標。二、鐵玫瑰藝術節已見開拓場館知名度之成效且具擴散性。三、場館應細緻化行銷規劃、加強與在地連結與組織調整。關鍵字：館舍行銷、藝術節、策展、鐵玫瑰

The present paper focuses on the venue marketing effectiveness through the three-year curatorial program of Iron Rose Festival, 2018 to 2020, held by Taoyuan Art Facilities Management Center.Taoyuan Arts Center (also known as the Iron Rose), as the most iconic arts venue in Taoyuan area, has its inherent environmental and hardware advantages. While Taoyuan is a satellite city of Taipei metropolitan area, it also faces the strong pull of Taipei area andnational-level venues on the audience. In addition to sufficient publicity funding, multiple marketing channels, top-class performances, well-equipped audio-visual facilities, professionalfront desk services, and other word-of-mouth marketing, the most important of all, is the very reason that people have to visit in person.In 2018, the organizing model of the festival has changed by inviting professional curators to coordinate the overall planning. This study examines the curatorial planning and decision making through the FTCCP (Form/ Theme/ Context/ Cost/ Performance) model andanalyzes the use of marketing strategies, accompanied by qualitative approach adopted, such as document analysis, in-depth interviews with the curators, organizers, performing groups and audiences, collocated with questionnaire survey conducted of the audience of Iron Rose Festival, 2020 for further analysis.The intended goal is to find out whether the visibility of Taoyuan Arts Center has expanded and whether the center's image created by the festival was in line with the positioning anticipated by the organizers. Drawing from the results, this research made the following conclusions: 1. With the aim of arts promotion, local arts and cultural festival should have clear curatorial axis and be in line with the visions and goals of the venue. 2. Preliminary curatorial goal of Iron Rose festival of expanding the venue’s reputation has been achieved and the model could be diffused. 3. Taoyuan Arts Centre should refine its marketing strategies, strengthen its connection with the local community groups and restructure its organization as well.KeyWords: Venue Marketing, Arts festival, Curation, Iron Rose Festival